portraiture unplugged: natural light photography

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Page 1: Portraiture Unplugged: Natural Light Photography

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ACKNOWLEDGMENTSThankstomywife,Theresa,forthetitleideaforthisbook.Also,thankstoherandmywonderfulchildrenWyattandValerieforgivinguptimewithmesoIcouldworkonthisproject.Iloveyouallmorethanyouknow.

IdidnotgettowhereIamtodaywithouthelp.Therearemanyfinephotographicartistswhohelpedgroomme.Iespeciallywanttoacknowledgeafew:ScottDupras,DartonDrake,MilleTotushek,DonnaSwiecichowski,TeriShevy,DanStoller,FuzzyDuenkel,RandyPeterson,andJonAllyn.AspecialthankstomytwophotobuddiesDanFrievaltandMichaelMowbrayforkeepingmecompanyandsaneviaFacebookwhileworkingonthisproject.Weallseethingsverydifferently,butintheend,goodportraitureisgoodportraiture.

SPONSORSThankstomysponsors:WhiteHouseCustomColor(WHCC,www.whcc.com),KodakAlaris(www.kodak.com),SweetlightSystems(www.sweetlightsystems.com),andG.W.Moulding(www.gwmoulding.com).Withoutthesefolks,livephotographiceducationcouldn’texist.

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Copyright©2015byCarlCaylor.

Allrightsreserved.

Allphotographsbytheauthorunlessotherwisenoted.

Publishedby:

AmherstMedia,Inc.

P.O.Box586

Buffalo,N.Y.14226

Fax:716-874-4508

www.AmherstMedia.com

Publisher:CraigAlesse

SeniorEditor/ProductionManager:MichellePerkins

Editors:BarbaraA.Lynch-Johnt,HarveyGoldstein,BethAlesse

AssociatePublisher:KateNeaverth

EditorialAssistancefrom:CareyA.Miller,SallyJarzab,JohnS.Loder

BusinessManager:AdamRichards

WarehouseandFulfillmentManager:RogerSingo

ISBN-13:978-1-60895-886-3

LibraryofCongressControlNumber:2014955672

10 9 8 7 6 5 4 3 2 1

Nopartofthispublicationmaybereproduced,stored,ortransmittedinanyformorbyanymeans,electronic,mechanical,photocopied,recordedorotherwise,withoutpriorwrittenconsentfromthepublisher.

NoticeofDisclaimer:Theinformationcontainedinthisbookisbasedontheauthor’sexperienceandopinions.Theauthorandpublisherwillnotbeheldliablefortheuseormisuseoftheinformationinthisbook.

www.facebook.com/AmherstMediaInc

www.youtube.com/c/AmherstMedia

www.twitter.com/AmherstMedia

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CONTENTSAbouttheAuthor

Preface

SECTION1.

THEBASICSANDBEYOND

TheNaturalLightCameraRoom

Strobe/NaturalLightCorrelation

JUMPPAGE:WhatIstheInverseSquareLaw?

ToolsoftheTrade

UnderstandingExposure,ManualStyle

WhiteBalance

ReflectorPlacement

PortraitLightPatterns

TheRhythmofLight

OutdoorSubjectPlacement

SECTION2.

UNPLUGGED:NATURALLIGHTINPRACTICE

1.TooTuff

2.TheTilePainter

3.DowntheRoad

4.Camouflage

5.StairMaster

6.YellowandBlue

7.SkaterBoy

8.AlleyGirl

9.GiveMeThreeSteps

10.RiverWatch

11.GoingDown

12.PlayingPool

13.WindowSeat

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14.WinterWoods

15.FlowerGirl

16.TheseBootsWereMadefor

17.SweetLightontheBeach,Part1

18.SweetLightontheBeach,Part2

19.GlamourGirl

20.Red

21.AllAboard

22.Let’sJam

23.DoveGirl

24.TrainDoor

25.ThoughtsandDreams

26.Dreadlocks

27.“CocaineLighting”

28.ALittleHelpfromHerFriends

29.BlackRocks

30.TrainStepGirl

31.PianoLighting

32.MountaineerFootballPlayer

33.YellowFlowers

34.FootballClose-Up

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35.BluePallets

36.BehindBlackRocks

37.Prom’sOver

38.SweetLightFamilyPortrait

39.Cheerleader

40.PointerSisters

41.DiagonalDoorTrim

42.TrainHang

43.GrassyBeach

44.SkaterBoySky

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45.LakeSwimmer

46.BlackOre

47.WatercolorGirls

48.WeddingRapids

49.TheBrownLounge

50.JackandJill

51.PapaBear

52.TrainWheel

53.OntheRocks

54.LakeAntoineatSundown

55.PurpleDitch

56.FoundontheDoorstep

57.PeopleWatching

58.OpenDoor

59.PiecesofMe

60.GettingFancy

Conclusion

Index

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ABOUTTHEAUTHORCarlisaKodakAlarismentorandhasbeeninvolvedwithphotographyforovertwenty-fiveyears.Hestartedhisphotographiccareerinthedarkroomasacustomprinterandtechnician.HeisPPACertified,aMasterPhotographer,aCraftsmanwithProfessionalPhotographersofAmerica,andaninternationalphotographicjudge.Hehaswonnumerousnationalawardsforhisphotography,includingtwenty-fourPPALoanCollectionimagesandseveralKodakGalleryandFujiMasterpieceAwards.HehasbeentheWisconsinStatePhotographeroftheYearthreetimesandhasreceivedamultitudeofstateawards.In2014,theWisconsinProfessionalPhotographersawardedCarltheprestigiousNationalAwardforhiscontributionstothefieldofphotography.Youcanseemoreofhisworkonhiswebsite:www.photoimagesbycarl.net.

Asmuchashelovescreatingportraits,healsohasapassionforhelpingothersbecomebetterportraitartists.Carlisoneofthemostsought-afterinstructorsinthecountryandabroadduetohishands-oncoachingapproach.Don’tplanonjustwatchinginhisclass!Carlwillchallengeyoutobecomeabetterphotographerthanyoualreadyare.Hisphotographicskillsarejustpartofwhatwillhelpeachstudent.Hisgreateststrengthishisabilitytoseewhatskillsothersalreadypossessandthenfindwaystohelpenhancethoseskillssothatphotographerscantaketheirworktoanewlevel.

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TPREFACE

hisisabookofinformation,notfluff.Whenyoureadthroughthepagesandstudytheimages,youwilllearntofindandusenaturallightforyourportraitneeds.

Embracetheideas.Theyhaveworkedformanyyearsandwillcontinuetoworkthroughtheendoftime,asnaturallightportraiturehasbeenaroundsincethebeginningofphotography.

Ourindustryhaschangedrapidlyasoflate.Withallthenewlightingequipmentonthemarket,whyusenaturallight?Thereareseveralreasons:(1)Biology.Theeyesofthesubjectaremorecolorfulandpowerful.(2)Education.Thelightisconstantandcanbeseenbeforetheimageiscaptured.(3)Cost.Naturallightisfree.Howaboutthat?(4)Subjectpsychology.Thesubjectdoesn’thavedisturbingflashesgoingoffeverytimeanimageiscreated.(5)Viewerpsychology.Thescenetheviewerseesinanimageisnatural.I’llelaborate.

First,let’slookatthebiology.Oureyesarelikealensonacamera.Thepupilwillexpandandcontracttoletinacomfortablevolumeoflightinagivenarea.Inmostcases,weworkinopenshade,whichoffersamplelightforthehumaneye.Thepupilwillcontracttoasmallapertureandmoreoftheiriswillbevisible.Theiris,ofcourse,isthecolorfulpartofoureyes.Morecolormeansmorepower.Inadarkarea,suchasadimlylitstudio,thepupilbecomeslargeandcoverstheiris.Ifastrobeilluminatesthesubjectatthistime,theeyeiscapturedwithalargepupilandalackofcolorandpower.

Weseecatchlightsintheeyesofoursubjectswhenviewinganimage.Ifthelightsourcewashandledinappropriatelyorthereareseveralcatchlightsfromdifferentsources,itwillbebothersometotheviewer.Foryoustudiostrobefolks—ifyouneedtoworkwithstrobesandstillwantpowerintheeyes,turnontheoverheadlightsandgetastrongermodelinglampinyourstrobes.Thebottomlineisthattheconstantlightneedstobebrightenoughforthepupiltocontract.It’sBiology101.

“Oureyesarelikealensonacamera.Thepupilwillexpandandcontracttoletinacomfortablevolumeoflightinagivenarea.”

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Thisisaclose-upofaneyeinanaturallightarea.Noticeallthebeautifulcolorintheiris.

Whatabouteducation?Whenlearningtheartofplacinglightonasubject,Ifeelitiseasierwithnaturallight.Thelightpatternsusedtosculptahumanfacecanbeseentheentiretimebeforeandduringanexposure.Thereshouldbenosurprises.Onceyouseetheshape,form,andtextureofyoursubject,justrecordit.We’llgetbacktothistopiclater.

Naturallightiscost-effective;it’sfree.Nobatteries,nowireconnectionsthatfail,nocords,notriggeringdevices,transmitters,receivers…yougetthepoint.Therearetimeswhenweusereflectorsorpanelstohelpmodifythelight,butagain,therearenobatteriesrequired.

Let’stalkaboutsubjectpsychology.WhenIfirstbegancreatingimages,Icoveredsportingeventsandyearbookassignments.Ididn’thaveastrobeatthetime,soIhadnochoicebuttorecordwithnaturallight.Inoticedquicklythatmyimagescapturedamoretruerepresentationofthesubjectcomparedtothosemadeusingstrobe.Inoticedthatmost

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peopleacteddifferentlywhentheyknewanimagewasbeingtaken.Withstrobe,afteronepop,yoursubjectisawareofthecamera.Naturallightislessintimidating.Evenwhenpeoplearesittingforaportrait,itishumannaturetoblinkwhenaflashgoesoff.Infact,manysubjectsanticipatetheflashandblinkbeforeithappens.Thatisnotacomfortablesituation.Inanaturallightstudioorsetting,therearefewerdistractions.Naturallightallowsforamorecomfortablescenario,andyoursubjectslookmorelikethemselves.

Next,wecometoviewerpsychology.Whenlookingatanimage,whetherwerealizeitornot,ourbrainisscanningtheimagefornaturaltruth.Whenthereislightonapersonthatcouldn’thavebeentherenaturally,alittleredflaggoesup.Whentherearecatchlightsfrommultiplelightsthatdon’tmakesense,there’sanotherredflag.Themorenaturalandcomfortableanimage,themoretheviewerwilllikeit.Okay,strobescanproduceasimilarresult,butitismoredifficulttore-createa“natural”sceneelectronically.Yes,therearetimeswhenitbecomesnecessarytousestrobe,butyouneedtothinkabouthowviewerswillperceivetheimage,notjusttheexposure.Forthepurposeofthisbook,andtheunderstandingthatyouwanttolearnnaturallightportraiture,Iwillnotusethe“f”wordforourlearningexamples.“Flash”willonlybeusedtocomparetherelationshipofthestrobestudioandthenaturallightstudio.Allimagesampleswillshowhowtousenaturallight.

“I’mgoingtoshowyouhowtoworkinthismediumsothatyoucanmakealiving;fromthere,youcanaddyourowncreativitytotakeyourartistrytothenextlevel.”

Beforewemoveon,Iwanttomentionthatthisisabookof“breadandbutter”portraitsdoneduringclassdemonstrationsorforactualclients.Ineithercase,theyarealwaystreatedwiththesamerespecttoartisticideals.Thereareafewaward-winningimageshere,butaward-winningimagesdon’talwayspaythebills.I’mgoingtoshowyouhowtoworkinthismediumsothatyoucanmakealiving;fromthere,youcanaddyourowncreativitytotakeyourartistrytothenextlevel.AllIaskisthatwhenyoubecomefamousforyourwork,pleasecontactmeandshareyourideassothatImaygrowaswell.

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SECTION1

TheBasicsandBeyond

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Inrecentyears,thenaturallightphotographerhasbeenlosingcredibility.Weareseenashobbyistsinsteadofportraitartists.Partofthisisduetotheinfluxofbeginnerswho

don’twanttospendmoneyonlightsanddon’trealizethereismoretoportraiturethanjustcreatingacorrectexposureofachildrunningaroundinayard.Pleasedon’tthinkIlookdownonthesefolks.Istartedthesameway.Ihopethisbookwillopeneveryone’seyes;myaimistohelppeoplegrowartisticallybylearninghowtousenaturallighttoproduceprofessional-levelportraits.

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Mynatural-lightcameraroom.

THENATURALLIGHTCAMERAROOMIamgoingtobeginwiththenorthlightcameraroom.Thisismymainindoorstudioroom.IsaythisbecauseIusewindowsandoutdoorlocationsallovertheworldasmycameraroom.That’sanadvantageofnaturallight.Youdon’thavetocarryitwithyou,it’severywhere.

Thisroomhaswindowsfacingdirectlynorth.Forthisreason,directsunlightwillnevercomeintotheroom.Theceilingsare20feethigh.Thetallestpartoftheglassis18feettall.Theheightisimportant.Thelightneedstomovetheentire21feetacrosstheroomtothesouthandstillbejustaboveheadlevelwhenitgetsthere.Thisallowsportraitstobecreatedanywherewithintheroom.Thelengthofthewindowscombinedis26feet.SoonIwillexplainthesignificanceofthislength.Asyoucansee,Ihaveabalconyinmycameraroom.Thisispartofmyhome-basedbusiness.Theupperpartofthebalconyisattachedtothemainlevelofourhomeandisusedasaworkoutareaandlounge.Icanalsouseittophotographfromdirectlyabovemysubjects,andithascomeinhandyforseniorsandcommercialworkthroughouttheyears.Thebalconyissupportedbypillarsdesignedtobeapermanent,classicalsetinmystudio.ThefloorisItalianporcelaininneutralcolorswithdesignworkthatcanalsobeusedinportraits.Outsidethewindowsisaclearedareawithlightdecorativerock.Thishelpswithcolorissueslaterinthedaywhenthesunisonthegroundoutsidethewindows.Onemoreimportantnote:Thereisawalloneithersideofthewindow.Mywallsare4feetlong.IfIhadittodoover,theywouldbe12feetlong.Thewallsallowsyoutocontrolthedensityandfocusofyourbackgroundwhileyoursubjectremainsingoodlight.Nomatterwhereyougo,indoorsor

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out,lookforalightingscenariosuchasthis:aceilingtoblocklightfromabove,lightallowedinfromonedirection,andanareaofcontrollablebackgrounds.

“Thelightneedstomovetheentire21feetacrosstheroomtothesouthandstillbejustaboveheadlevelwhenitgetsthere.”

STROBE/NATURALLIGHTCORRELATIONIusethesewindowsasIwouldusestrobes.Asyoucanseeinthediagram,theprinciplesoflightingapersonarethesameineachapproach.Alightshouldbeplacedatabouta45degreeanglefromthesubjectonahorizontalplaneandabouta45degreeangleonaverticalplane.This“mainlight”producesdirectionallightthatwillcreateshapeandformonthesubject.Themainlightshouldbeevidentinthesubject’seyesasacatchlight(awhitehighlightintheeye).Thecatchlightshouldbeatabout2o’clockor10o’clockintheiris,dependingonwhatsideofthesubjectthemainlightisplaced.Afilllightcanbeusedtobringtherelationshipoftheshadowandthemainlighttoadesired,printableunity.Remember,themainlightgivesdirection.Thefilllightshouldn’talterthatdirection.We’lltalkaboutthatingreaterdetailsoon.Thenthereareaccentlights(alsocalledkickerlightsorseparationlights).Theselightscreateseparationandareusedtokeepthesubjectfromblendingintothebackground.Theyalsohelpcreateathree-dimensionalfeelingtotheflatpieceofpaperwecallapicture.

Studio-windowdiagram.

Asyou’llnotice,theselightsourcesdonotpointdirectlyatthesubject.Theyskimthesubject.Yes,notonlydowewantadirectionoflightthatgivesusshapeandform,wealsowanttextureonthesubject.Theonlythinginnaturethatwillcreatetextureislight

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skimmingacrossasurface.Agoodexample:Ifyouwanttophotographripplesinthesandonthebeach,whendoyougo?Sunsetorsunriseofcourse—butyouwillgetthemostoutofthescenerightwhenthesundisappearsoverthehorizon.Thisiswhentherewillbeadirectionthatshowsthecrestsandvalleysoftheripples,andalsothegrainsofsandwithinthescene.Thehumanfaceisareflectivesphere.Withinthatsphereareothershapes:eyes,nose,cheekbones,hair,andporesintheskin.Asanartist,Iwantitalltobeseen.Sono,it’snotaseasyaspointingalightatsomeoneandrecordingtheimage.Thereissomuchmoretoitthanthat.I’llgettotheuseoflightinamoment,butfirstweneedtotalkaboutthephysicsoflight.

Lightwillalwaystravelinastraightline.Forthesakeofunderstanding,let’sjustassumethelightfromagivenlightsourceisabeamoflight.Inthebeamitself,thecenterismostconcentratedandintense.Anytimethebeamtravelsdirectlyatareflectivesurface,suchasthehumanface,thesurfacewillreflectthatbeamdirectlybackatitsorigin.Thiswillcauseaspectralhighlight(awhitereflectionwithnodetail).Thisiswhyweusetheedgeofourlightsource.Itkeepsusfromlosingdetailinoursubjects.

Youwillfindthattherearesmalllightsourcesandlargelightsources.Eachproducesadifferenteffect.Alargelightsourceisonethatislargeinrelationshiptothesubject.An8-footwindowfacingnorthwithasubject2feetawayisalargelightsource.A2x2-footwindow10feetawayisasmalllightsource.Anopenskyontheshadowsideofabuildingisalargelightsource.Thesuninanopenfieldatmiddayisasmalllightsource.Asmalllightsourcewillproduceverydefinedshadowsandagreatdealofcontrast.Alargelightsourcewillcreatesoft-edgedshadowsandmorenaturalfillfromhighlighttoshadow.Bothcanbeusedinanaturallightportrait,butItendtofavorthelargerlightsourcesoratleastsmalllightsourceswithoutdirectsunlight.MostpeopleIphotographcan’tkeeptheireyesopenindirectsunlight.Sounlessmysubjectsarewearingsunglasses,Isticktoworkinginopenshade.

“Alargelightsourcewillcreatesoft-edgedshadowsandmorenaturalfillfromhighlighttoshadow.”

Lightwillalwaysfalloffinintensityasittravelsfartherfromitssource.(Thisprincipleisknownastheinversesquarelaw.)Iwillavoidbeingoverlytechnical,butyoushouldnotethatthefartherthelighttravels,thelessthereistoexposeanimage.Itisthisprinciplethatwillexplaintheuseofdifferent-sizedlightsources.I’llstartwithasmallwindow.Ifthesubjectsitsontheedgeofthewindow,thelightfromthewindowwillshowontheperson’sface.Thelightmayonlyshowononesideoftheface.Thisisbecausethefaceitselfblocksthelightfromhittingtheotherside.Ifthesubjectsitsontheedgeofalargewindow,thefaceisstillingoodlight,butthelighttravelingfromtheoppositesideofthewindowcanalsoreachtheoppositesideoftheface.Thisiswhatwecallwraparoundlight.Becauselightfallsoff(ataratedescribedbytheinversesquarelaw),thelighttravelingfromtheoppositeedgeofthewindowfromthesubjectislessintensethanthatonthehighlightsideoftheface.Thisisanimportantprincipletounderstand,asitwilldictatehowyouwilluseanygivenlightsource.

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WhatIstheInverseSquareLaw?Theinversesquarelawforlightintensitystates:“Theintensityoflightisproportionaltotheinversesquareofthedistancefromthelightsource.”

Forthoseofyouwhodonotlikemath,justunderstandthatthefartheryoursubjectisfromthelightsource,thelesslighttherewillbeonyoursubject.

Mostofuswouldguessthattwicethedistancefromalightsourcewouldcuttheintensityinhalf.Thatisnotthecase.Doublingthedistancewouldchangetheintensitybythesquareofonehalf;inotherwords,wewouldendupwithonefourththeintensity.Ifyoumovethesourceorsubjectthreetimesthedistance,theintensitywouldchangebythesquareofonethird,oroneninththeintensity.

Thecloserthesubjectistothelightsource,thegreaterthechangeinintensitywithasmalldistancechange.Inotherwords,ifyoustandonefootawayfromalightandtakeareading,thenmovebackonestep,therewillbeagreaterchangecomparedtoifyouweretwenty-fivefeetawayandtookonemorestepback.Thisisgoodinformationtoknowforgroupportraits.Ifyouhavethreerowsofpeopleandwantthelighttobethesameintensityonallrows,moveyourlightasfarawayfromthemasyoucanwhilestillachievingtheexposureoutputrequiredtousetheapertureneededtocarrythefocusthroughoutallthreerows.Incontrast,ifyouplacealightveryclosetothesubjects,thepersoninthefrontrowmaybemuchbrighterthanthepersoninthebackrow.

Therearesomeexceptions.Youcanusetheinversesquarelawtopredicttherateoflightfalloffforspeedlightsandstudiostrobes.Umbrellasandsmallsoftboxeswillfollowthelawquitecloselyfordistancesgreaterthantwicetheirdiameter,buttherearesomeexceptions.Lightsourcesmodifiedbyfocusingunits(likeafresnellens)orthoseoutfittedwithagridwillnotfollowtheinversesquarelawaspredictably.Alsolarge,diffusedlightsourceslikeanorthlightwallofwindowswillfailtofollowthesameequation.Thatsaid,still,thefartherawaythelightsourceisfromthesubject,thelessintensethelightwillbe.Thewiderthewindow,thelargertheworkingportraitarea.

Largelightsource.

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Smalllightsource.

“Youcanusetheinversesquarelawtopredicttherateoflightfalloffforspeedlightsandstudiostrobes.”

TOOLSOFTHETRADEReflectorsareveryimportanttoolsforworkinginnaturallight.Iuseseveral,rangingfromwhitetoverybright,mirror-likesilvermaterials.Idonotusegold.Reflectorsareusedtoaddaccentlightortofill(lighten)shadows.Shadowsarecoolincolortemperature.Goldisaverywarmcolortemperature.Thetwodonotmixwell.Theonlyexceptiontothisisonapastelsandybeachatsunset.Wheneverythingseemstohaveawarmglowtoit,agoldreflectorcanbeofsomeuse.

ThereflectorsIusecomefromacompanythatisnolongerinbusiness.Inthefuture,checkoutSweetlightSystemsatwww.sweetlightsystems.com.Theycreatelightmodifiersandarelookingtogetintothereflectorbusinessaswell.Ihavealsoused,andstilldoattimes,insulationboard(availableatbuildingsupplystores).Itworksjustfine,thoughitdoesn’tlookasniceandtakesupmoreroomwhentraveling.Ilikeareflectorwitha“kickstand”sothatIdon’tneedassistants.Thereflectorwithakickstandalsoworksfineasanunder-reflectoroutdoors.IliketohavetworeflectorsalongonanoutdoorsessionifIcan.Atleastoneshouldhaveblackcoveringoneside.Thisway,Ihaveareflectorandagobowithmeatalltimes.WhenI’minside,Iuseabrightsilverreflectorforaccentlight,asoftsilverreflectorforfill,asmallreflectoronagoose-neckstandforanunder-reflector,andagoboonagoose-neckstandasshownintheimagesonthefacingpage.

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Agoodtripodisanessentialpieceofequipment.IuseaBogenManfrotto#058Btripod.Itisaheavybutveryeffectivetool.Thelengthofthelegsarecontrolledbyleversupwhereyouhangontothetripoditself.Bypressingthemiddlelevers,allthelegsareloosenedandmoldtoeventhetoughestterrain.Whenyoureleasethelever,thelegslock.Youcanalsoadjusteachlegindividuallywiththesmallerleversasshownintheclose-upimage(facingpage).Nomoremissingtheimagebecauseyou’remessingwithtripodlegs.ThisisonethingIcannotlivewithout.

Idonotcareforcamerastraps.Theypullonyourneckandshouldersandtheyallowyourcameratobecomeawreckingballeachtimeyoubendovertofixhairorclothingonaguest.IprefertheSpiderHolster(www.spiderholster.com).Thisbeltandholdingdevicesolvesallissuesandcanlockthecameraintoplace.Ihaveranandjumpedoverrockswithmycamerainthisholster.It’sgreattohaveasafeplacetostoreyourcamerawhileyouaresettingupashot.

Indoorbrightandsoftsilverreflectors.Thebrightsilverisusedforaccentlighting.Thesoftsilverisusedforfill.Bothstandalonewithoutassistants.

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Blackbackforsubtractivelight.AtleastonereflectorIcarrywillbeblackononeside.Thisway,IalwayshaveagoboalongwithmetoblocklightwhereIdon’twantit.

Outdoorlargereflector.Thisisamoredurablereflectorforuseintougherenvironments.Itcomesapartandrollsupforeasytraveling.Ithasaself-supportingstand.

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Under-reflector.Thisisagreattoolforuseinthestudio.Itisusedonthehighlightsideofthesubjectandfromunderneath.Itisfacedtowardthewindowandfeatheredbacktothesubjectuntilyoujustbegintoseethecatchlightintheeyes.Becareful!Thisisthemostoverusedlightsourceinnaturallightportraiture.

Gobo.Thisisablackpanelonagooseneckstand.Useittokeeplightoffsmallareaswhereyoudonotwantit.It’slikecustomburningin-camera!

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Tripodandtripodclose-up.TheBogenManfrotto#058Bwithaball-jointhead.Thistripodallowsthelegstobeadjustedwithgravity.Bypressingtheredleversshowninthephotos,thelegsfalldownuntiltheyrestonsolidground.There’snoneedtoreachdowntounscreweachlegsection.Thismodelallowsyoutoworkquicklyovereventheroughestterrain.

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Spiderholster(www.spiderholster.com).Thisismypreferredreplacementtotheneckstrap.Itiscomfortableandsafeforyourcameraandyoursubject.Itdoesnotallowyourcameratoswingatthemwhenyouleanovertofixtheirhairorclothing.

Canon5DMarkIIIwithCanonEF70–200mmf/2.8LISUSMlens.Thisismygo-tochoicefornaturallightportraiture.

Lastofall,thereistherecordingdevice.WhyisitthelasttoolIlisted?Becauseitisonlythat—atool,arecordingdevice.Workingwiththerelationshipofthesubject,thelight,andthebackgroundiscreatingphotography.IcanrecorditonmyiPhoneormyCanon.Yes,myCanon5DMarkIIIissomethingtheywillneedtopryfrommycold,deadhandssomeday,butitdoesn’tcreateanything.ItjustrecordswhatIdo.Thatbeingsaid,itisafinepieceofequipment.ItallowsmetoworkathighISOsettingsformyportraitsandgivesmewhatIexpecteachtimeIpresstheshutterreleasebutton.Iuseseverallenses,butmyworkhorseistheCanonEF70–200mmf/2.8LISUSMlens.Youwillseemoreofmylensselectionslaterinthisbook.

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UNDERSTANDINGEXPOSURE,MANUALSTYLENextontheagendaishowtocreatethecorrectexposure.Thisisacamerathing.Whenyouwerejustlearningtotakepictures,youprobablysetyourcameratoautoorprogrammodeandletitdoallofthework.Forfullartisticcontrol,you’llneedtosetyourcameratomanualmode.Askyourselfquestionsaboutthescene.Forinstance,doyouwantalotinfocusorjustasmallarea?Doyouneedtostopthemovementofachildrunningacrosstheyard?Theanswerstothesequestionswilldetermineyourexposure-settingselections.

Ofcourse,gettingaproperexposureiscritical.Therefore,let’sstartourdiscussionwithmetering.Therearetwowaystometeryourscene:youcanuseareflectivemeteroranincidentmeter.Themeterinyourcameragivesyouareflectivereading.Ahand-heldmeterwillgiveyouanincidentreadingor,whenfittedwithanattachment,areflectivereading.Thereflectivemetermeasuresthelightbouncingoffthesubject.Anincidentreadingtellsyouhowmuchlightispresentatthesubject.Bothwillworkwithpractice.

Themeterinyourcameraisareflectivemeter.Itshouldtellyouwhetheryourshutterspeedandaperturesettingsharmonizetogiveacorrectexposureforanygivenscenario.Tousethismeter,yousimplylookthroughyourviewfinderandwatchthemeterreadout.Youcanadjusttheaperture(f-stop)orshutterspeeduntiltheexposureneedleappearsinthecenterofthegraph.Ofcourse,youmustbepointingthecameraatthespecificareaofyourscenethatyouwanttoexposefor.Inportraiture,thatwouldbethehighlightsideofthesubject’sface.Yes.Exposeforthehighlights.Ifyourhighlightisoverexposed,thereisnovisualinformation(detail)there.Youneedtoexposeyourhighlightsproperly.Note:Notalllightmetersarecalibratedcorrectly.Youneedtotestyourequipment.Yourmetermayneedtobecalibratedtoaknown,correctreading.Intheend,youshouldbeconfidentthatyourmeter,hand-heldorin-camera,willgiveyouanaccuratereading.Ifyouareusingahand-held(incident)meter,positionthemeteronthehighlightsideofthesubject’sfaceandpointthemeter’sdomeatthelightsource.Entirebookscouldbewrittenonexposure.Forthepurposesofthisbook,letmefinishbyadvisingyoutopractice!

Thereisn’tenoughspaceinthisbooktogettoodeepintof-stopsandshutterspeeds,butIwilltouchonthosetopics.

Let’simaginethatameterreadingofahypotheticalsceneyieldsrecommendedcamerasettingsof secondatf/8(atISO400).Thiswillcreateacorrectexposure.However,othersettings(calledequivalentexposures)willallowforthesamecorrectexposure.Whywouldyouusedifferentexposuresettings?Well,insomescenarios,you’llwanttouseawide-openaperturetoblurthebackgroundandeliminatedistractions.Inothers,you’llwanttoshowthebeautyofthenaturalenvironment,andyou’llwantthebackgroundsharp.Whenyouchangetheaperture,youreduceorincreasetheamountoflightusedtorecordtheimage.You’llneedtoreduceorincreasetheshutterspeedtomaintainthecorrectexposure.Therearetimeswhenstoppingthemotionofarunningchildwillrequireafastshutterspeed.Youmayneedafastershutterspeedifyouareworkingwithaheavylens,aswell,topreventblurfromcamerashake.

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Thelightmeter.Thisisahand-heldlightmeter.Itisusedtomeasuretheambientlightfallingonthesubject.Noticethedomepointstowardthelightsource.Therearealsoattachmentstousethismeterforareflectivereading,justlikethemeterinyourcamera.

Now,let’sassumethatyourmetergivesyouareadingof secondatf/8.Thissettingmighthelpyoupreventmotionblurthatstemsfromanunsteadyhand.F/8offersagreatdepthoffield.(Note:Depthoffieldistheamountofthescenethatappearsinfocusonahorizontalplanefromthecamera.)Thataperturesettingmaywellkeepthedistractingbackgroundelementsofthesceneinfocus.Lookingatthechartbelow,youmightconsiderchangingyourexposureto secondatf/4sothebackgroundislessinfocus.

AthirdcontrolusedtoadjustexposuresistheISO.TheISOgovernsthelight-sensitivityofthesensor.AhighISO,say1600,makesthecameramoresensitivetolight.AlowISOsetting,sayISO100,reducesthesensitivityofthesensor.Alowsettingisagoodchoiceforverybright,sunnyscenes.

ISO400ismygo-tosettingfornaturallightwork.Itusedtobetruethatyou’dseemorenoiseinanimageshotatISO400thanISO100,butwithtoday’ssensors,thereisnorealdifferenceinquality.YoumayaswelltakeadvantageofusingahigherISOsothatyoucanchooseafastershutterspeedtostopmotion.TheISOperformanceinnewercamerasisimpressive.Ihavenoproblemworkingat3200ISOonmyCanon5DMarkIIIcamera.Yes,thereisadifferenceinnoise,butitisn’tobjectionable,evenforthemostcriticalofeyes.Ihaveevenusedsettingsbeyond3200.NoiseispresentinextremeISOsettings,butit’snotasnoticeableasthegrainwesawinhighISOfilms.Ifyouneedthe

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exposureandthelightislacking,don’tbeafraidtouseeventhehighestISOsettingyourcameraoffers.

Exposureequivalentchart.Onceacorrectexposureiscalculatedforagivenscene,manyoptionsareavailableaslongasyouareworkinginthemanualcameramode.Thistableshowsalltheapertureandshutterspeedcombinationsthatwillworkinthisareaandstillproduceacorrectexposure.Somewillallowforstoppingactionwhileotherswillallowmoredepthoffield.

LENSESImentionedthatIusetheCanonEF70–200mmf/2.8LISUSMformostofmywork.Ifavorthenarrowangleofviewthatthelensallows.Thisallowsmetofindsmallbackgroundareaswithouthotspotsanddistractions.Italsocompressesthebackgroundandhelpseliminatedistractions.

Therearetimeswhenawide-anglelensistherighttoolforthejob.Youwillknowitwhenitcomesup.Afamilygroupingoraweddingpartyisnotoneofthosetimes.Awide-anglelenswilldistortandcreateunflatteringsizerelationshipsassubjectsareplacedbehindoneanother.Thesubjectinthefrontrowwillhavealargehead,whiletheguyinthebackwillhaveatinyface.Don’tbeawitchdoctor.IrecentlyboughttheCanonEF85mmf/1.2LIIUSMlens.Iloveit!Onelasttip:Usethelenshoodthatcamewithyourlens.Youhaveabigexpensivepieceofglassinyourhands.Thehoodhelpsprotectitandpreventslensflare.Ifyouwantflare,takeitofftogettheshot,thenimmediatelyreplaceitandcontinueshooting.You’llbeamazedatthedifferenceinclarityyouwillseeinyourworkbyusingthelenshood.

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Customgraycard.

Close-upofcustomgraycard.

WHITEBALANCE

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Innaturallightphotography,itisveryimportanttounderstandwhitebalance.Thecolortemperatureofthelightmaybedifferentinanygivenscene.Whenshootingoutdoors,Itypicallyworkinopenshade.WhenI’minthoseareas,settingmycameratotheshadewhitebalancepresetworksfine.Buttherearetimeswhenthelightchanges—acloudmovesoverhead,aredcarparkswhereitreflectslightinyourdirection,orrawlightbouncesoffayellowbuilding.Alltheseareasneedtobecustomwhitebalanced.Thesamegoeswhenyou’reworkingwithwindowlight.Glasshasacoloredtinttoit;oureyesdon’tseeit,butthecameradoes.Bydoingacustomwhitebalance,thecolorbalanceinthatareabecomescorrectforyourrecordingandyoursubjectsarerenderedtherightcolor.

Thefirststepistometerthescene.Ifyoudon’thavethecorrectexposure,youcannotachieveacorrectcustomwhitebalance.Tobeconsistent,Irecordanimageofaspecialgraycard.Youneedtofilltheframewiththiscard.Ifyoucan’tfocusthatclose,don’tworry.Thecarddoesn’tneedtobeinfocus.Oncethegraycardisrecorded,checkyourmath(i..e.,doublecheckthatyourexposurewascorrect).Youcandothisbylookingatyourhistogram.Thehistogramisagraphicalrepresentationofallofthetonesinyourframe.Whenyouphotographagraycard,thehistogramshouldlooklikethegraphshownhere.Themiddlespikerepresentsthegraycenterofthecard.Thespikeontheleftandrightrepresenttheblackandwhiteareasrespectively.Noticethespikeinthecenteriswiderthantheoutsides.Thisisbecausethehistogramshowsthepercentageofthatassumeddensitythroughouttheframe.Thereismoregray,sothatspikeiswider.OnceIseethiscorrectgraph,Iflipthegraycardovertowhite,filltheframe,andrecordit.Donotchangetheexposure!Youmustdothisinmanualmodeorlockyourexposurefromthegraycard.Inyourfirstimage,thecardmayappearoff-color.Next,gointoyourcamera’smenu,findthecustomwhitebalanceoption,andselectit.Yourcamerawillaskyouifyouwanttousethelastimage.Yes,youdo.Yourcardshouldnowappearwhite.Yourcamerawillnowtellyoutochoosethecustomwhitebalance(ifyouweren’talreadysetonit).Recordanimageofthepersonholdingthecardjusttobesurethecolorslookright.Youarenowreadytocreateimagesuntilthenextcloudmovesoverhead.

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Histogram.

Beforecustomwhitebalance.

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Aftercustomwhitebalance.

REFLECTORPLACEMENTReflectorsarelightsources,justlikewindowsorstrobelights.Theplacementoftheselightsourcesiscritical.Alightshouldn’tbepointeddirectlyatoursubjects.Rather,theedgeofthelightshouldbeused.Thesameistrueofareflector.Iplacemyaccentreflectorfirst;itispositionedbehindandtotheshadowsideofthesubject.Asyoucanseeintheimagesonthispage,ifalinewasdrawnperpendicularfromthereflectorsurface,theveryedgeofthelightsourcewouldskimacrossthesubject.

Thefilllightreflectorisplacedinasimilarfashionbutinfrontofthesubject,asshown.Inmystudio,itactuallypointsdirectlyatthewindows.Donotanglethisreflectortowardthesubject.Ifyoudo,youwillseeacrossshadowunderthenose,whichisnotflattering.Remember,filllightshouldn’tchangethedirectionofthemainlight.Itshouldjustfilltheshadowarea.

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Theaccentreflectorisplacedbehindthesubjectwithjusttheedgeskimminglightacrossheroutline.Itisusuallyontheshadowside,butonoccasion,canalsoworkfromthehighlightside.

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Thefillreflectorisplacedacrossfromthemainlightinfrontofthesubject.Itisusedtocontroltheintensityoftheshadowinanimagewithoutchangingthedirectionofthemainlight.

Under-reflectorplacement.Thereflectorfromunderneaththesubjectactuallystaysonthewindowsideofthesubjectandtiltstowardthewindow.Featheritbacktothesubjectuntilitshowsintheeyes.Becareful.Thisreflectordestroysmoreimagesthananyotherlightsource.Again,itshouldjustaddalittlelightintheeyeandunderthechin,butnotchangethedirectionofthemainlight.

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Useagobotoblocklightfromfallingonareasyoudon’twantlit.Thegoboisyour“in-cameraburntool”;darkenareasnow,thentherewillbenoneedtotakecareofproblemslater.

Theunder-reflectorisanoftenmisusedtool.Itisusedtoputalittlelightintheeyes,underthechin,andintheeyesockets.Itshouldnotchangeorcompromisethemainlightdirection.Thisreflectorshouldpointbacktowardthewindowandisplacedonthehighlightsideofthesubject(seetheimageabove).Todeterminethebest-possibleplacement,startbypointingthereflectoratthewindow.Slowlytiltthereflectortowardthesubjectuntilyouseethelightintheireyes.Stopthere!Don’toverdothis.Whenit’soverdone,lightwillshootupthenose.Icallthis“cocainelighting.”Justsayno.

Youwillsometimeshearphotographerstalkaboutsubtractivelighting.Somethinkthisisthepracticeofusingablackpanelorfabricontheshadowsideofthefacetosucklightfromthesubject.Well,lightcannotbesuckedaway.Alltheblackpaneldoesiskeeplightfromcomingfromthatdirection—justasthesubject’sownfaceblockslightfromhittingthefarsideofthefacewhenyouareusingasmallwindow.Thetoolusedforsubtractivelightingiscalledagobo.Agobocanbeusedtoblocklightfromtheentiresubjectorjustpartsofthesubject.Intheimageabove,agobowasusedtoblocklightfromstrikingthesubject’schest.Agoboisusedineveryimageinonewayoranother.In

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thecameraroom,myceilingisagobo.Thewallsaregobos.Yougettheidea.

PORTRAITLIGHTPATTERNSTherearemanyspecificlightpatternsthathavebeenusedinmasterpaintingsaswellasphotographicportraitsforcenturies.Thesepatternsareappealingtoviewersandhelptellastoryofthesubjectatthemomenttheimagewascaptured.Thesepatternsareproventobeflattering.Trytousethem.I’veshowntheminblack&whitesoyoucanconcentrateonthelightanddarkareasratherthanthecolors.

Usetheedgeofyourlightsource.Inmystudio,placingthesubjectontheedgeofthelengthofwindowsproducesbetterwraparoundlightandbettertextureonthesubject.Italsokeepsthelightdirectioncomingfromthesideandthefrontofthesubject,ratherthanfromboththefrontandback.

Thisimageshowstheshortlightpattern.Themaskofthefaceislit.Afillreflectorwasusedtolightentheshadows,

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narrowingthetonalrangefromhighlightstoshadows.

Thisisthesameshortlightpattern,butwithnofillreflector.Noticehowtheshadowisabitdarkerthanbefore.

Subjectplacementwithinthelightisimportant.Forthefirsttwopatternsshownhere,shortlightandbroadlight,thesubjectshouldbeontheedgeofthewindow.Moreoftenthannot,thechestofthefemalesubjectisturnedawayfromthewindow.Thisway,thefaceisbrighterthanthechest.Fromthisposition,thesubjectcanturnherheadbacktowardthewindowtoproduceashortlightpattern.Thispatternrevealsthemaskoftheface.Itisespeciallynoticeableina¾viewofthesubject’sface.Thatiswhenacleancheekisvisibleonthehighlightsideofthefaceandoneearisshownontheshadowsideoftheface.Thisisahappylight.Smilesarewelcomehere.

Broadlightisthesame¾viewoftheface,butthistimethevisibleearandthebroadsideofthefaceisilluminated.Themaskofthefacegoesintoshadow.Thisisamoreserious,emotionallight.Thedeepertheshadow,themoresomberthefeeling.Theplacementofeverythingremainsthesameasintheshortlight,buttheheadjustturnsawayfromthewindow.

Therearetimeswhenthesubjectlooksmorecomfortableturnedintothelight.Thesamepatternscanbeused.Ijustaddagobotoblockthelightfromhittingthechest.Youcanseeintheexamplesthedifferenceawell-placedgobocanmake.

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Hereyoucanseethecameraandsubjectplacementcomparedtothewindow.Thecameraisprettymuchparallelwiththewindow.Thisisthepositioningformost“shortlight”and“broadlight”portraits.

Thisimageshowswhata“broadlight”patternlookslike.Thefaceisturnedawayfromthemainlightsothatthemaskofthefaceactuallygoesintoshadow.Thislightmayaddweighttoasubjectsobecarefulwhenputtingitintopractice.Inthisimage,thefillreflectorwasusedtobringtherelationshipoftheshadowclosertothatofthehighlight.

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Nowyoucanseethesame“broadLight”patternwithnofill.Noticethedarkershadowsideoftheface.

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Iusuallychoosetoturnafemalesubjectawayfromthemainlight.Insomecases,youwillfindyourselfinapositioninwhichsheneedstofaceit.Theproblemisthatthechestreflectsmorelightthantheface,anditisalargerarea.Unfortunately,thechestwilldrawmoreattentionthantheface.Thisisnotagoodscenario.

Here,agobowasusedtoblockthelightfromhittingthesubject’schest.Thisallowstheviewertofocusonthesubject’sface.Here,themodel’sfaceisinashortlightposition.

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Thisisthesamegobousageasbefore,butthistimethemodel’sfacewasturnedtocreateabroadlightpattern.

ThisportraitshowsaRembrandtlightpattern.Themaskofthefaceismostlylit,butshadowshelpdefinealighttriangleontheshadowsideoftheface.Thisiscreatedbythepositionofthecamera,subject,andlightsource.

Thisistheoverallviewshowingwherethesubject,camera,andwindowarepositionedtoachieveaRembrandtlightpattern.Ruleofthumb:ifyouwantatriangleoflight,makeatrianglewithyou,thesubject,andthewindow.

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Hereisthesetupusedtocreateasplitlightpattern.IusuallyworkthesameaswhenusingRembrandtlight,butIhavethesubjectturnhisorherfaceawayfromthewindowuntilIseethelightstopatthemidsectionoftheface.

Thisimageshowsthesplitlightpattern.Afillreflectorwasusedtokeeptheshadowsideofthefacefromgoingtoodark.

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Thisiswhatthesplitlightpatternlookslikeinmycameraroomwithoutadditionalfillfromareflectorpanel.Remember,thewallsonthesouthsideofmycameraroomarereflectorsaswellandnaturallyfilltheshadowsideofthefaceinallportraits.

Rembrandtlightissimilartoshortlight,butitrevealsatriangleoflightontheshadowsideofthefacebetweenthenose,eye,andcheekbone.Thisisamoreseriouslight,oneforaproper,sturdyposeandexpression.It’seasytorememberhowtoachievethispattern.Ifyouwantatriangle,youneedtomakeatrianglewiththesubject,thecamera,andthelightsource.AsyoucanseeintheRembrandtoverviewimage(facingpage),thecamerapositionchangedfromparallelwiththewindowtofartherintotheroomtoachievethispattern.

Splitlightiswhatitsoundslike;halfthefaceisinlightandhalfisinshadow.Bynow,youcanprobablyguessthatthisisnotasmilinglightpattern.Itisoneusedtoshowattitude,intensity,orconcentration.Tomakethispattern,continuetomovethecameraawayfromthewindowandhavethesubjectturnherfacetofollowyou.Whenyouseethelightdisappearontheshadowside,stopandrecordtheimage.

Profilelightisusedtodramaticallyshowtheprofileofthesubject.Thislightcomesfrombehindthesubject,whoisposedwiththeshadowsideoftheirfacetowardthecamera.Thisisathought-provoking,emotionallight.Inmostcases,itisbestusedforamoreconservativeexpression.Manyphotographersareunsureastohowthispatternisproducedwithwindowlight.I’lldemonstratewithafewimages.

Moreoftenthannot,Iseeprofilelightingattemptedasshowninthisimage.Whenthesubjectisplacedinthecenterofthewindow,thelightengulfsherandcreatesspectralhighlightsonthefacedirectlyfacingthelight.Theclothing(andbouquetifthiswereabride)willbewashedoutandappeartoglow.Thishappensevenifexposedcorrectly.Thisisnot

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howtolightaprofile.

Thisistheresultofplacingthesubjectinthecenterofthewindow.Noticetheflatnessofthefaceandthewashed-outhair.

Hereisthecorrectplacementofthesubjectforprofilelight.Thesubjectisonthesamesideofthewindowasthecamera.Ifyouweretostandinhershoes,lookingforward,youwouldseethewall,notoutthewindow.Thisforcesthelighttoskimacrossthesubjectfromtheoppositesideofthecamera.Thiswillproduceaniceprofilewithdetail.

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Here,youcannowseetheresultofproperplacementtocreateaprofilelight.Noticehowmuchmoreshapeshehasandthedetailthroughouttheimage.Note:Youstillneedtoexposecorrectlyforthis.Itiseasiertousealightmeterinthiscasebecause,fromthecameraposition,thehighlightisnotveryreadable.

“Singleaccentisadreamy,storytellinglightpattern.Themaskofthefaceisinfullshadow.Theonlydefininglightisjustskimmingthesideoftheface.”

First,thecameraispositionedparalleltothewindow,justaswithashortlight.Thesubjectisonthesamesideofthewindowasthecamera.

Profilewindowlightcanmakeforagreatbridalimage.Thedresswillholdallitsdetailandthebouquetwillnotbeblownout.Ifyouwant,youcanaddMomandDadontheotherendofthewindowwatchingher.ThelightfromthesamewindowcangiveDadabroadlightandMomashortlightastheystandtogetherandgazeattheirlittlegirl.

Singleaccentisadreamy,storytellinglightpattern.Themaskofthefaceisinfullshadow.Theonlydefininglightisjustskimmingthesideoftheface.Inmostcases,thesubjectislookingdownorawayfromthecamera.

Doubleaccentisjustwhatitsays.Thedefininglightonthesubjectisoneithersideoftheface.Usually,aswithasingleaccent,thelightcomesfrombehindthesubjectandskimsthesidesoftheface.Becausethemaskofthefaceisinshadow,thisisamore

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somber,thought-provokinglightpattern.Therearetimeswheneyecontactismadefromthesubject,butonlyifyouaretryingtoportrayadeepandpowerfulstory.Foreithersingleordoubleaccent,thesubjectneedstobepositionedwherethelightjustskimsaroundtheedgeofthebackground.Inmycase,thebackgroundisagainstthebrightwindow.Iemployasecondbackgroundasa“slip”solightdoesn’tcomethroughthecanvas.

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Hereisanexampleofasingleaccentlight.Thefaceisinshadow.Theonlydefininglightskimsacrosstheedgeofthesubject.Thisisagoodpatternfordeepemotionalimages.

Thisisnotwheresheshouldbe.Becarefulnottopositionyoursubjectoutofthelight.Movethemawayfromblockingdevicesuntiltheyareattheedgeofthedirectionallight.

Nowsheisinaplacewherethelightcandowhatitneedsto.Findtheedgeofthelight.

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Thisiswhathappenswhenthesubjectistooclosetotheblockingdevices.Noticehowflatthelightis.Itlackstexture.

Studytheimagesonthesepages.Youwillseeexamplesoftheselightpatterns.Eachandeverypatterncanbecreatedwithsmallorlargelightsources.AsIstatedearlier,thedifferencewillbetheharshnessoftheshadowthatdefinesthepattern.Theimageswillalsohavevariousamountsoffill.Youwillseeallofthesepatternsputtouseinthenextsectionofthisbook.

“Everypatterncanbecreatedwithsmallorlargelightsources—thedifferencewillbetheharshnessoftheshadowdefiningthepattern.”

Nowyoucanseetheresultofadoubleaccentlight.Mostofthetime,Ihavethesubjectlookawayfromthecamerato

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helpwiththemoodfromlackoflightonthefaceitself.

Theexceptiontotherule.Thisimagewasalsomadewithadoubleaccent,butthistime,thereiseyecontact.Sometimesthesubject’sexpressionandbodylanguageallowsit.Itcanmakeapowerfulimage.Istillwouldn’tsuggesthavingthesubjectsmilefrombehindthisshadow—itcouldbekindofcreepy.

Hereisanoverallviewfromthecameraposition.Thissetupcanworkforsingleaccentordoubleaccentpatternsdependingonthesubjectplacementandthesubjectpose.

THERHYTHMOFLIGHTLightrhythmreferstotherelationshipbetweenthehighlightandshadowareasofthesubjectandwhatisdirectlybehindthesubject.Thehighlightsideofthefaceshouldhave

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adarkertonebehindit.Theshadowsideofthefaceshouldhavesomethingrelativelylighterthanthatofthehighlightside.Thissendsapush-pullmessagetotheviewer’sbrain.Anythinglightonaflatpieceofphotographicpaperwillappeartoadvance.Anythingdarkwillappeartorecede.Inourminds,whenthesubjectandbackgroundcontrastwitheachother,depthiscreated.Also,sincewearenotworkingwithbackgroundlights,ensuringthatlightrhythmexistswillallowforseparationbetweenyoursubjectandthebackground.Noteverybackgroundwillallowforthisopportunity.Ifitcanexist,itwillmakeyourimagesmorepowerful.Shownhere(page28)isthesameimage,withthesamebackground,indifferentlocations.

Ipaintedthissimplebutwell-thought-outbackgroundyearsago.Ineededabackdropthathelpedwithoverallshapeandform.Remember,innaturallightphotography,thereisnobackgroundlight.Thereisonlysubjectplacementandbackgroundrelationships.Weneeddarkareastocontrasthighlightsandlightareastocontrastshadows.

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Toshowexactconditionswithonlythebackgroundchanging,Icreatedthisphotoonthegreenscreen.Byextractingthesubjectandchangingherrelationshiptothebackground,Icanshowtheimpactthatlightrhythmcanhaveonyourimage.

Anexampleofgoodlightrhythm.Noticehowthehighlightonthesubjectislinedupwithadarkerareaofthebackground.Ontheshadowsideofthefacethebackgroundtransitionsintoalighterareaascomparedtothehighlightside.Greatdepthiscreated.

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Nowthesubjectismovedintoanareathatisjusttheopposite.Noticethelackofdepth.Infact,thesubjectseemstoblendininsteadofjumpingoffthepage.

Toshowhowlightrhythmworks,Iphotographedmysubjectagainstagreenscreen,thencutherimageoutandplaceditinapositionagainstthisbackdropthatallowsforgoodlightrhythm.Inthefirstimage,wehavearhythmofdark(background)againstlight(subject),dark(subject)againstlight(background).Theotherhasjusttheopposite.Whichonestandsout?

OUTDOORSUBJECTPLACEMENTCloudydaysareoftensaidtobebetterforportraitsbecause“youcanphotographanywhere.”Thisisnottrue.Idolikecloudydaysbecausetheyallowformoreoptionsforbackgrounds,astheystayinaconsistenttonalrange.Theartoflightingasubjectstillremainsthesame,whethercloudyorsunny.Youneedtoworkinanareathatallowsforgooddirectionallight.Thequestioniswhere.Hereisasimpleanswer.First,findacovertostoplightfromabove,justasyouwouldindoors.Becarefulnottogotoodeepunderthecoverandlosethelight.Second,makesurelightcanonlyenterfromwhereamainlightwouldbepositioned.Thisisahardlessontolearn,soIwillgiveyouasimple-to-remembertrick.Gositwhereyouwereplanningtoposeyoursubject.Lookaround.Ifyoucan’tseeamainlightsourcewhereitshouldbe,orwhereyouwouldhaveplacedastrobe,youareinthewrongplace.Findanewarea.Thinkintermsofwherethecamerawillbe.Whenthecameraisthere,isthebackgroundacceptable?Whenthebackgroundisacceptable,willthelightpatternyouwanttoachievebepossiblegivenwherethelightiscomingfrom?Justbecauseyouareoutsidedoesn’tmeantherulescanbethrownoutthewindow.(Okay,thatwasabadchoiceofwords,butyougettheidea.)

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Whenyouplacethesubjecttoofarunderthetree,thelightgetsflatandthecoloriscontaminated.

Thesubjectisinanopenyardonacloudyday.Noticethedarkeyesocketsandwashed-outhair.Thebackgroundiswithoutspottylight,butthisisnotthemostappealingplaceforthesubjecttoexist.Thefactthattherearecloudsintheskydoesnotmeanthatwecanworkjustanywhere.

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Whetheryouareshootingonacloudyorsunnyday,trees,overhangs,bridges,andcanopiesaregoodoptions—justbesureyoursubjectisnottoofarunderthem.You’llneedtomakesurethatgood,uncontaminatedlightisabletoreachyoursubject.

Here,thesubjectisunderthecoverofthetreeandthebackgroundisconsistentbecauseofthecloudcover.Noticethebrightereyesandtheaddeddetailinthehairontopofherhead.

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Thesubjectistoofaroutinthesun.Therearehotspotsonherhead,shoulders,andthebackground.Theseareaswillbeimpossibleto“fix”inPhotoshop.Thisisnottheareatoshootin.

Theimagesbelowandonpage29showyouwhattolookforandwhattoavoid.Readthecaptionsandstudytheimagesforfuturereference.

Remember,findagoodbackground.Makesurethereisgoodlighttousewiththatbackgroundandthepotentialsubject.Letthesubjectexistwithinthatspace,thenrecordtheimage.

TherestofthebookcontainsmanyimagesandthethoughtprocessesIwentthroughtocreatethem.Ihopethatduringyourtimewiththissection,somethingwillhelpyouinyourjourneyintheartofnaturallightportraiture.

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Here,wehavebetterplacementofthesubject,butthebackgroundstillhasproblems.Sheisoutoftherawlightandtheimagewillholdtogetherforprinting,butthebackgroundiswashedoutoveralargearea.Thisbrightnesswilltakeawayfromthesubject.Itwouldbeverytime-consumingto“fix”inPhotoshop.Evenifthetimewasspentfixingtheimage,chancesareitwouldneverlookquiteright.

Thesubjectisstillinagoodlocationandanunder-reflectorwasusedtogetjustalittlelightinhereyes,butthebackgroundisstillsunny.It’snotasobjectionablebecausea70–200mmlenswassetata195mmfocallengthtocompressthearea.

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Nowthesubjectisinagoodlocationandthereisalightcloudcover,buttherearetoomanydistractionsinthebackground.Thiswasdonewithawide-anglelens.Manytimesawide-anglelenscanshowtoomuchofthesurroundingsanddistractfromthesubject.

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Hereisawell-placedsubjectwithabackgroundcontrolledbycloudsandagoodchoiceoflens.Thesubjectisinthesameplaceasinthelastimage.Justthelenswaschanged.Nowhereyesarebright,therearenohotspotsinthebackground,thereisdetailonthesubjectinhighlightandshadowareas,andthelongerlensbothnarroweddownwhatyouseebehindthesubjectandcompressedthebackgroundtohelpseparatethesubject.

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SECTION2

Unplugged:NaturalLightinPractice

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1.TOOTUFFTHECONCEPTThisimagewascreatedtoshowdedicationandworkethic.Iusedthesubject’sfootballhelmetasaproptohelptellhisstory.Ikeptawayfromthefulluniformanddecidedtokeeptherippedjeans.Ifeltthejeanstoldthestoryofhisworkethicoffthefield.Itismyopinionasacoachthatanathleteismorethanwhatweseeonthefield.Onewhoiswillingtohelpothersandworkshardonhisownwithoutbeingaskedisawinnerinmybook.

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THESETUPIpositionedmycanvasbackgroundagainstthewindowsinmystudio.Ioptedtopointmycameradirectlytowardthelight.Thekeyhereistopositionthesubjectrightwherethelighttravelsfromeithersideofthebackground.Thebackgrounditselfisasubtractivelightsource.

Ifthereisarockinthemiddleofariver,waterwillflowaroundeachsideofitinaVshape.Lightwilldothesamething.Knowingthis,IpulledthesubjectforwardfromthebackgrounduntilIcouldseethedoubleaccentIwaslookingfor.Ialsobroughtintworeflectors.Iplacedthemoneithersidebetweenmyselfandthesubjectandfeatheredthemtowardhimasafilllight.Inthisway,Iwasabletokeeptheshadowsandhighlightsinaprintablerange.

Thelightfromthewindowcameoverthebackgroundandservedasahairlight.Thisisoneofthebenefitsofhavingtallwindows.

Asthemaskofthesubject’sfacewasinshadow,Iaskedhimtolookatthecameraintensely.Withsomemistfromaspraybottle,thestorywascomplete.

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I2.THETILEPAINTER

n2008,IwasinvitedtodoaprogramfortheMexicoNationalPhotographer’sConventioninPuebla,Mexico.

Alocalphotographertookseveralofusonadrivetoseeandrecordthearea.Westoppedataceramicsshopwherevisitorscouldwatchartistsmakepieces.Icameacrossthisgentleman.Hisjobwastohand-painttiles.

LIGHTINGANDEXPOSUREThesubjectwasseatednexttoatall,narrowwindowinasmallroom.Itookastepintotheroom,thenasteptomyright.Ilookedthroughmycameraandthought,“I’mseeingthemeterreadf/4at second,butIknowthehighlightisatleastastopoverthat.I’llsettheaperturetof/5.6.”Thiswasaprofilepose.Sincethelightwascomingfrombehindthesubject,itwasaprofilelightsituation.Theposeandlightmatched.

Theshotwasahappyaccident.ThepainterhappenedtobenearthatwindowinapositionthatIrecognizedcouldworkasadramaticprofilelight.Watchfortheseoccasions.Theabilitytoseewhatispossiblewillgreatlyimpactyourwork.

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CanonEOS5DMarkII•Tamron28–75mmf/2.8lensat50mm• second,f/5.6,1600ISO

POSTPRODUCTIONIusedCorelPaintertoenhancethisimage.Thiswasoneofmyfirstattemptsatpostproductionpainting.Ifeltitwasappropriategiventhesubjectandhiscraft.Apaintershouldbepainted.

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T3.DOWNTHEROAD

hisimagewascreatedduringaseniorsessionatthesubject’shome.Theskieswereheavilyovercast,whichallowedmetoworkinopenareaswiththebackground

remainingingoodworkabletonalranges.Itisoftensaidthatcloudydaysarebestforoutdoorportraitsbecausethelightwillbebetteronthesubject’sface.Thatcanbetrue,butthebestthingaboutovercastdaysisgoodbackgroundtonality.

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DIRECTIONALLIGHTWhenyouareworkingoutdoors,itisimportanttofindorcreateadirectionoflighttogivethefacedimension.Cloudydayscanmakeitmoredifficulttoseegooddefininglightonyoursubject.Ignorethefactthatyoudon’thavehotspotsinthebackgroundandlookatthesceneasifitwerenotovercast.Forexample,asyoucanseeinthediagram,Ifoundanareawherelightwasblockedfromtheleftandwasallowedtoenterthescenefromtheright.ThesubtractiveeffectfromthehedgegavemesomeofthelightdirectionIneededtoshapethesubject.Intheory,thatwouldbeallthatisrequiredtocreategreatportraitlight—butwait!Theskywasstillbrighterthanwhatwascomingfromtherightsideoftheimage.Forthisreason,Ipositionedthesubjectwithinthelighttohelpwiththelightpattern.Ihadhertipherheadandturnherchinslightlyupandtowardhershoulder.Thelightfromabovesuddenlyworkedasthemainlightandfellontoherfaceandintohereyesinacomfortableway.

ANIMAGEWITHSTYLEThedrivewayandlandscapingharmonizedwellwithmy70–200mmlenstocreatewonderfulperspective.Bypositioningthesubjectwithinthedriveway,butofftooneside,depthwasevident.Ialsochosetheclothingtomatchandblendwiththedriveway.(Doingtheshootatherhousewasanadvantage.WewentrighttoherclosetandpickedoutclothingforthedifferentbackgroundsIwasseeinginmymind.)Thegreeninthelandscapingwasaperfectcontrastforherredhair.Iknewshewouldjumpoffthepage,butmoreattentionwouldgotoherfacebecauseofthelightingandtheuseofcolor.

“Iknewshewasgoingtojumpoffthepage,butmoreattentionwasgoingtogotoherfacebecauseofthelightingandtheuseofcolor.”

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4.CAMOUFLAGECULTIVATINGSIMPLICITYThisportraitwasmadeforaconservativeseniorwholoveshuntingandthegreatoutdoors.Ihadworkedwiththisfamilyinthepastandknewtheywantedgoodportraiture,butinasimpleway.Insteadofusingabunchofprops—guns,archeryequipment,andfishingparaphernalia—Iusedhiscamouflagesweatshirtandawoodsybackground.Thekeyherewastocreatesimplicityinabusyenvironment.

LENSSELECTIONIchosemy70–200mmf/2.8lensforthisassignment.IknewthatthelenswouldgivemeanarrowfieldofviewandwouldhelpcompressthebackgroundforthesimplicityIwaslookingfor.Ichoseanapertureoff/4.5,asIwantedashallowdepthoffieldtohelpsimplifythebusybackground.

THERHYTHMOFLIGHTIpositionedthesubjectunderthetreetostopthelightfromcomingstraightdownonhim.Thetreesontheleftblockedlightfromthatside.Theopenyardallowedthemainlighttoenterfromtherightsideoftheimage.Therewasalackoflightintheteen’seyes,soIbroughtinareflectoronthemainlightsideandskimmedthelightacrosshisfaceuntilIcouldseelifeinhiseyes.Iwantedtobringtheshadowsideofhisfaceupinvalue.Todothis,Ineededanotherreflector.Thistime,thelightpointedbackatthemainlightandskimmedtheshadowsideofhisface.Next,Ineededseparation.Icouldn’tgetareflectorbehindthesubjecttocreateanaccentlight,soIneededanotherwaytomakehimjumpoffthepage.Iusedthelightanddarkareasofthebackgroundforthis.Thedarktreetrunkanddark-greenleaveslinedupdirectlybehindthehighlightsideofthesubject’sface.Behindtheshadowsideofhisface,lightergreenleavesappear.Thisrelationshipbetweensubjectlightingandcontrastingbackgroundtonalvaluesgivetheillusionofseparationinanaturalway.Thisissomethingtolookforwhencreatinganimage.Lookbehindyoursubjectandpositionthemoryourselfinrelationshiptothemtofindthisrhythmoflight.

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W5.STAIRMASTER

hileteachingaclassinCapeMay,NewJersey,Icameacrossthisstairwell.Theendofthestairwellhadtallwindowswithineachstoryofthebuilding,butthe

windowswerenotverywide.Iwantedtogetthecompositionanddepthofthestaircaseandstillusethelightfromthenaturalenvironment.

VISUALIZINGTHESHOTIbeganbylookingthroughmycamerafromseveralstoriesabove.AsIchosemybackground,Ivisualizedwherethesubjectcouldbepositioned.Ilookedforjustacornerofthestairsabovewherethesubjectwasgoingtobeandcomposedtheimageshowingthestairsbelowrepeatingastheygotfartheraway.

Itheninstructedthesubjecttomoveintothespace.Oncepositioned,Irealizeditwouldbeasplit-lightsituation.IhadherturnherheadtowardthewindowuntilIcouldseethedesiredpattern.Therewastoodeepofashadow.Ihadoneofthestudentsholdasilverreflectortoaddfillfromunderthestaircasetotherightofthesubject.ThisbroughttherelationshipofshadowversushighlightintoarangeIwashappywith.Sinceitwasasplitlightpattern,Ihadthesubjectgivemeasternlook.

WHITEBALANCETheentirescenewasred,sothelightenteringtheareacreatedanoverallredcast,evenwithacustomwhitebalance.IusedNikSoftware’sSilverEfexProtoproducetheconversionfromcolortoblack&white.Intheprogram,Iusedaredfiltertogiveagoodcontrasttothecontaminatedskinandcreateabettervisualoftheredstaircase.

“Lightaloneisnotenough.Theentirestoryalsoneedsingredientsfromthesubject,thelocation,andthepresentationtobecomplete.”

TELLINGASTORYTheemotioninthesubject’sexpression,thesplitlight,andtheblack&whitepresentationledmetotitletheimageStairMaster.Lightaloneisnotenough.Theentirestoryalsoneedsingredientsfromthesubject,thelocation,andthepresentationtobecomplete.

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6.YELLOWANDBLUECOLORANDCOMPOSITIONThishigh-schoolseniorworeayellowshirtandblueshortstohersession.Ihadtheperfectplaceinmindforasetofimageswiththisoutfit.Wewalkeddowntomyphotoshackandbegantoplay.IpositionedhersoIcouldseetheyellowwallbehindher.Insteadofjustplainyellow,Idecidedtomaintainabitmoredepthandallowedthefloorandthebluewalljustoverherrightshouldertoshow.Thelittlesquareofthebluewallwasjustenoughtoharmonizewithherblueshorts.Betweenthetwoblueobjects,herfaceexists.

Thisportraitisagoodexampleofusingcolortoguidetheviewer’seyethroughanimage.Theblueshortsareobviouslypartofthesubject,butthebluewallisfarbehindher.Thecompositionlendsasenseofdepthtotheimage.

POSINGANDLIGHTINGWedidsomeimagesshowingtheshorts,butthisposeshowedtheminawaythatwasmoreconcealing.Bybringingherleftlegup,Icoveredhermidsectionandthelengthoftheshortsthemselves.Ofcourse,withherlegup,therewasanapparentweightgainonherbottom.Thesolutionwastocroptheshot.Ididn’tneedtoshowherentirebody;itwasmoreimportanttodrawattentiontoherface.

Withthiscrop,Ineededtofindsomethingforthesubjecttodowithherarms.Icreatedacircularshapecomprisedofherarmsandface.Thisshapekeepstheviewer’seyesfromdriftingawayfromthesubject.

ThereisasoftRembrandtlightingpatternontheteen’sface.Itisdifficulttoseebecausethelightsourceissolargeandtheshadowsarenotverydefined,butitisapleasantpatternandveryflatteringforher.Thesoftexpressionseemedtofitthelightingpatternnicely.

Iusedabitoffill,asshowninthediagram.Ialsousedareflectoronthehighlightsideandfromunderthesubjecttoaddlifeinhereyes.

Tip:Besurethatyourclientdoesnotsmooshherfaceorarmswhensheleansagainstsomething.Encouragehertoleanagainstboneratherthansofttissue.Thisapproachmaintainsthehumanformbetter.

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O7.SKATERBOY

kay,Ididsaynottogooutandshootindirectsunlight.That’sagoodruleofthumbformoretraditionalportraitscenarios.Inthiscase,however,mysubjectwasnottoo

traditional.Hisstorywastobetoldoutinthebrightsunwithasphaltunderhisfeet.Icouldhavemadethiseasierandbroughtoutthe“f-word”(flash!),butthelookIwasafterwaseasytoachievewithnaturallight.

Iknewitwouldn’tbepracticaltousethesunasamainlight.Infact,Ichosetodojusttheopposite.Iputthesubjectandhisskateboardinapositiontohidethesun.Athinlayerofcloudshelpedtoo.Iplacedalargereflectortocamerarighttofilltheshadowcoveringhisbodyandface.Thereflectorwasinchesfromhisfootandjustoutofthecameraview.Noticeitwasnotpointedstraightathim,butratherskimmedacrosshim.Thisway,theonlydefinedshadowsfromthesubjectcamefromthesun.Thefillreflectorwasusedtobringtheshadowvaluesclosertothehighlights.

THEPROPNextonthestorytellingagendawastheskateboard,whichwasanimportantpartoftheimageandthesubject’slife.Withouttheskateboard,itwouldnotmakesensetoposetheteenonthepavement.Becauseoftheprop’simportance,IfeltthatIshouldaddlighttodrawmoreattentiontotheskateboard.Iplacedasmallreflectorjustbeyondcameraviewandundertheboard.Thisreflectorhelpedmakethecolorfulboardpopandaddedlightinsubject’seyes.Sinceitwassobright,IhadtheteenclosehiseyeswhileIsetupthereflectors.IhadhimquicklyopenhiseyeslongenoughtoknowwhereIwasandfreezehimselfwhileheclosedhiseyesagain.Onthecountofthree,heopenedhiseyesandIrecordedtheportrait.

“Becauseoftheprop’simportance,IfeltthatIshouldaddlighttodrawmoreattentiontotheskateboard.Iplacedasmallreflectorjustoutsidecameraviewandundertheboard.”

PERSPECTIVE

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Iuseda16–35mmlensforthisimagebecauseIwantedtoshowalotoftheenvironment.Askateboarderneedsspace.IfoundaplacenearthefencesoIcouldincorporateasenseofdepthasitgotfartheraway.Igavehimawide,skater-esqeposeandcoachedhimtogivemeasternexpression.Thelowcameraanglewaschosentohidethesunandpresentnothingbuttheskybehindhim.Iusedhisboardandhisorangeshoelacesaspointsonmycompositionaltriangle.Hislegsfilledinthegaps,leadingusrighttohisface.Hisstorywastold.

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T8.ALLEYGIRL

hisseniorportraitwasmadeonlocation.ItraveledanhourandahalftoaplaceIhadneverseenbefore.Therewasnotimetoscoutthearea;Isimplyhadtorollwithit.

AHARMONIOUSSCENEInoticedthewarmtonesinthebuildingsandthewaythestructuresrelatedtoeachother.Ialsothoughtofthebrowngrass,bluewindowframes,andtheperspectiveofthewindowsills.Ineededtomakethemallworktogetherandharmonizewiththesubject.Imadesureshewascontainedinthegrass,withnodistractions.ThenIlinedupthewindowframesjustofftoherleftinanasymmetricalcomposition.Thelinesofthewindowsillsanddeadgrassleaduspastthesubject,butwhenwegettotheblueframes,oureyesbouncebacktoher.Herbluejeansarethesecret.Blueistheonlypopofcolorinthisotherwisemonochromaticscene.Becausethesamecolorexistsonthesubjectandawell-placedbackgroundfeature,asenseofdepthiscreated.Theviewer,however,willalwaysgobacktothein-focussubject.

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LIGHTINGThelightingwassimple.Itwasallaboutpositioningherwithinthelight.Therewasrawsunlightonthegroundinfrontoftheteenjustoutsideofcameraview.Iwalkedherbackuntilshewasshadedbythebuildingbutclosetotheedgeofthelight.There,Ihadalarge

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lightsourcewithgooddirection.Icouldposeherinvariouswaysandchoosemanydifferentpatternsoflightforherface.Forthisshot,Ilitthemaskofherfaceandletherbehappy.Itsuitedher.

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W9.GIVEMETHREESTEPS

henIbeganworkontheretainingwalloutsideofmystudioentryway,Istartedlayingtherocksinastraightline,parallelwiththehouse,butthenIthought,

“WhynotcreateacompositionalelementIcanuseinaportraitsomeday?”SoIrearrangedtherocks,filledinthelowareas,andaddeddecorativestonesontop.Iplantedatreetohelpbreakupthelargeopenwallandtogiveablockingdeviceforlaterportraits.Thevisualizationpaidoff.Iusethisareaquiteabit.Inthesummer,thislocationisinshadeuntilabout10:00AM.Thatgivesmeplentyoftimetousetheareawithmyfirstsessionsoftheday.

Grassgrowsneartherocks,sothegreencoloraccentedthesubject’sgreeneyes.Thedecorativestonesworkedwellwithheroutfit.

POSINGFORTHELIGHTINGTheposewassimple.Inotedwherethelightwascomingfromandpositionedthesubjectatananglethatallowedthelighttoreachherface.Thesecretistoposeforthelight,butalsoforthesubject.Sometimeswhatwehaveinminddoesnotlookcomfortablewhenthesubjectdoesit.Whenthisisthecase,trysomethingdifferent.Intheend,thelighthastobepleasantandtheposeneedstobecomfortable.

REFLECTORFILLIpositionedareflectorunderandtothehighlightsideofthesubjecttobrightenhereyes.Noaddedreflectorfillwasneeded.Thestudiobuildingisalight-creamcolor.Thebuildingcastalargeshadowoverthearea.Thewallactedasasoftreflector,bouncinglightfromtheopenskyandaddingthefillweneededforaflatteringimage.

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10.RIVERWATCH

BEAUTYVERSUSDEVASTATIONIwasteachingaclassinColoradoseveralyearsago.Oneafternoon,wetookawalkwiththishighschoolseniorgirltofindareastotrashherpromdress.Justbecauseonethingisonyourminddoesn’tmeanyoucan’talteryourplansalongtheway.Thisarealookedcleanandpure.Iwantedtoshowbeautyhere,notdevastation.

SURVEYINGTHESCENEAswecametothisbridge,Inoticedalotofnicelightcomingfromanopeningcreatedbythebendintheriver.Ilookedthroughmy70–200mmlensandscopedoutabackgroundshowingsomewater.Therewasalargerockforposingon.Iwalkeddowntotherockandtookalightreadingwithmyhand-heldmeter,thenIhelpedthemodelmaneuverdownthebanktotherock.Iposedherinaprofilepositionbecausethelightwasinfavorofthatpatterninrelationshiptothecameraposition.Ifixedherhairandscrambledupthebanktothecameratocapturethisimage.

Whatmademestophere?Therivercutanopeninginthetreesforthelighttoenterthescene.Asyounoticeinthediagram,theonlyplacelightcouldcomefromwasbehindthesubject.Thetreesonbothsidesoftheriveractedasasubtractivelightsourceandthepositionofthecamerafromaboveonlyshoweddarknessbehindthesubject.Thesubjectwasthensculptedwithinthescene.

LENSSELECTIONUsinga70–200mmlenswasakeyfactorinthesuccessofthisimage.Bynarrowingthefieldofview,Iwasabletoisolateanareabehindthesubjectthatdidn’thaverawlightorotherdistractions.Italsocompressedthebackground,allowingthesubjecttostandoutevenmore.

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W11.UNDERGROUND

henIworkwithasenioroutdoors,ItendtomakethingsupasIgoalong.Thisway,theteenwillhavesomethingthatnooneelsehas.Seniorportraitsshouldbe

unique.Yes,thereshouldbesomeconstants,butyoushoulddoafewthingstoproduceuniquelooks.

ANURBANSTAIRWELLThisstairwellleadingtoabasementlookedlikeagoodlocation.Thebackgroundwasdifferentandpleasing,andthelightwasgood.HowdidIknowthelightwasgoodbeforethemodelwasinplace?Practice.Plus,thebuildingcastashadowoverthestairs.Theonlydirectionlightcouldcomefromwastheopenskyoverthestreet.Iknewthelightwouldcrossfromrighttoleft.

COMPOSITIONANDLIGHTINGIhadthemodelwalkdownthestairsuntilshewasframedbythebackwall.Herheadwastheonlypartofherbodyabovegroundlevel.Thisensuredthatitwouldbethebrightestpartofthescene.Thebackwallwasimportantformorethanjustsimplicity.Italsohadrhythmpotential.Thedarkbrickscouldlineupjustbehindthehighlightsideofherface.Theshadowsideofherfacecouldbepresentedagainstthelighterbricks.BypositioningthecamerajustrightIwasabletomaketheseparationvisible.

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12.PLAYINGPOOLTHEFINALEIphotographedthisgirlforatrash-the-dresssession.ColoradomountainwateriscoldinlateMay.Heck,wewalkedaroundmanypilesofsnowduringthesession.Towarmupandtofinishthesession,shejumpedinthepoolattheresort.

THELIGHTINGTherewasgoodlightcominginfromtheglasswallonthelongsideofthepool,andtherewaslightcomingfromthefarside.Therewasapatioabovethepoolacrossfromthewindowswithalittlesetofstairs.Theshortwalluptothepatioandthewallonthefarsideofitweresolidandfacedwithwood.Theentrysideofthepoolalsohadasolidwall.Theonlywayforlighttonaturallygettoasubjectinthewaterwasfromthenorthandeastsides.Itwaslateintheafternoon,sothelightcomingfromtheeastwindowswasfromopensky,aswasthelightfromthenorth-facingglasswall.

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IwalkedaroundthepooltowhereIthoughtthelightwouldbebest.Ihadthemodelwalkintotheframe.Onceshewaswithinmycameraview,Iturnedheruntilthelightwasnice.Iusedherdresstocreateauniqueshapeandtocoverherunderarms.Sincethecombinationofherdressandherposelookedlikeaflower,Ihadherclosehereyestoavoidmakingeyecontactwithviewers.

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Ilikedhowthewarmcolorofherskincontrastedthecoolcolorofthewater.EventhoughIwantedthecommunicationtobenondirect,Istillwantedtheviewertoseethehumanfigurewithinthedesign.

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13.WINDOWSEAT

CanonEOS5DMarkII•CanonEF70–200mmf/2.8LISUSMlensat70mm• second,f/5.6,400ISO

CLOTHINGSELECTIONBeforeeachsession,Ilookthroughthesubject’sentirewardrobe.Iseparatecolors,thenwiththehelpofthemodel,choosethebestpieceswithineachcolor.Idecidewhatwillbeusedinsideandwhatwillbeusedoutsideoronlocation.TheindoorchoicesarehunginorderofwhatIamgoingtodo.IfIamsetupwithadarkbackgroundfromtheendofmylastsession,thefirstoutfitwillbedarkerincolor.Preparationiskey.

Thesubjecthadseveralwhitetops.Allwereniceanddifferentstyles.Insteadofpairingeachofthemwiththesamelight-coloredcanvasbackdrop,Ichosethewindowsillforthisoutfit.Thewindowsthemselvesmakeagoodbackground—especiallyinthiscase,astheyrepeatthemselvesasyoulookfartherintothescene.

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THEPOSEIjustaskedtheteentositinthewindow.Sheposedherself.IaskedhertoturnherheaduntilIhadsplitlightingtocomplementherexpression.Ialsoplacedareflectorforfillandoneforaccent,asshowninthediagram.Notallimagesneedtobedifficult.Simpleis

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good.

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I14.WINTERWOODS

liveinthenorthwoodsofMichigan’supperpeninsula.Ourwarmseasonisshort.In2013–2014,wehadsnoweverymonthfromOctoberthroughMay.That’seight

months.Thatleavesfourmonthstodosessionsoutdoorsinagreen,lushenvironment.Noteveryonethinkstocomeinduringthose“gentler”monthsforportraits.Somefolksbravethecold.

EMBRACINGTHEELEMENTSThisseniorwantedtobephotographedinthesnow.Weworkedinsidefirstandtookcareofthetraditionalthings,thenpackedupandheadeddowntheroad.

SERENDIPITYWhenIlookedthroughtheclient’swardrobe,Ifoundthissweatshirt.Thefirstthingthatcametomymindwasthatthepatternonitlookedlikethebarkofpoplartrees.WhenIsawthisstandofpoplartrees,Iquicklypulledover.Ihadtoworkfast.Therewasagood-sizedcloudcoveringthesun,buttherewasjustenoughintensitytocreateagooddirectionoflight.

IfoundtwotreestogetherwhereIcouldseemoretreesbehindthem.Iplacedhimagainstonetree,turnedhisfaceintothelight,andrecordedtheimage.Notethatthehighlightsideofhisfaceisagainsttheshadowsideofthetreebehindhimandtheshadowofhisfaceisagainstthelighterbackground.Lookforthesethings;theycanmakeyourimagesmorepowerful.

Ididnotuseareflectorforthisimage.Myonlylightwasthesunthroughtheclouds.Thetreeatthesubject’sleftactedasasubtractivelightsource.Ichoseanapertureoff/4.5forashallowdepthoffieldandsetthelensto140mmforanarrowfieldofview.ThesetwosettingsproducedanimagewithasimplebackgrounddespitethefactthatIwasworkinginanareawheretherewasagreatdealofpotentialfordistractions.

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T15.FLOWERGIRL

hisgirllikedwildflowers,solateintheafternoon,weheadedouttofindsome.Itdidn’ttaketoolong.Thepowerlinenearthestudiocutsapaththroughthewoods,

leavinggoodopenareasforwildflowerstogrow.Mostoftheareasarelinedwithtreesandwoodedcountrythatstretchesforseveralmiles.Thewoodsarehometomanycritters,includingbearswhofrequenttheseopenareasinsearchofberriesorotherfoodsources.Itdoesn’thappenoften,buteveryonceinawhile,wehavefurryphotobomberscomethrough.Thiswasnotoneofthosedays.

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LOCATIONLIGHTINGInthisparticulararea,therewasadepressionfrombothsidesoftheclearingsothetreeshungwayabovethefield.Thebankscastaniceshadowovertheflowersandmadeforaniceconsistentbackgroundthatalsohadwhattheseniorwanted.Icreatedmanyimageshere,butthiswasherfavorite.Ialsolikedit,astherewasgoodlight,herhairlookedgood,andherstorywastold.Thesubject’shairhungdownandactedasasubtractivelightsource.Yes,themainlightwascomingfromthewesternsky,butthehairhelped.Themoralofthestoryisthis:partsofyoursubjectscanhelplightornotlightotherparts.Dependingonwhatyousee,positionbodypartstohelpyou.AsIhavestatedbefore,bodypartscanalsohelpcreateamorepowerfulcomposition.

ASIMPLEBACKGROUNDIchoseanapertureoff/4forashallowdepthoffieldtohelpsimplifythebackground.Isetmylenstoamoderatefocallength,70mm,tokeepsomeofthefieldandflowersinview.

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I

16.THESEBOOTSWEREMADEFOR…

paintedthiscanvasbackdropyearsago.Iuseittoshowthedarksideofsomepeople.Asyou’llnotice,Ipaintedlightanddarkareasforasubjecttoharmonizewithand

createanicerhythmoflightinrelationshipwiththebackground.

Thissubjectfitthedarkside.Shelovedherbootsandwantedtoshowthemoff.Ithoughtthatthisbackdroprepeatedthepatternoftheeyeletsintheboots.Thefootclosesttothelensraninadiagonaldirectiontothesubject’sface.Theeyeletswereperpendiculartothelinesinthebackground.Wherethetwointersect,weseethesubject’sface.

SPLITLIGHTINGThesplit-lightpatternsuitstheportraitconcept.Imadesuretheteenlinedupwithinthedarkandlightareasofthebackgroundforseparation.IplacedthebackgroundataslightangletothewindowssothatIcouldgetthesplitlightpatternIwantedwhilekeepinghersquaretothebackground.Normallyinastudio,thebackgroundstaysputandthelightismoved.Whenworkingwithnaturallight,thesubjectandthephotographerneedtomovewithinthelight.

Iusedabrightsilverreflectorforanaccentlightandasoftsilverreflectorforfill.Thereflectorswereplacedtoallowlighttoskimacrossher.

BIGSALESWhenImadethisimage,Ithoughtmyclientsmightpurchasewallet-sizeprints.Asitturnsout,hergrandparentsboughta24-inchprintofthispose.Theyweretakenbythewayitshowedherpersonality.Iguessyouneverknow.

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17.SWEETLIGHTONTHEBEACH,PART1

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THEBEAUTYOFSWEETLIGHT“Sweetlight”isfoundwhenthesunisoutofsightbehindthehorizonbuttheatmosphereisstilllight.Thishappensatsunriseandsunset.

TheseimageswerecreatedduringademonstrationinCapeMay,NewJersey.Theshootrequiredanearlywakeupcallandagood-sizedcupofcoffee.

Thenightbeforethisdemonstration,Iwentthroughthemodel’swardrobeandfoundthisdress.Ilikedthesimplebeautyofit.Itwaslightandairywithjustenoughtexturetomakeitinteresting.Iknewitwouldbewellsuitedtothepastelsettingofthebeachatsunrise.

Photographingthisearlyinthedayrequiresatripod.Someoftheexposurescanbeprettylong.Ifthemodelisinasturdystance,thisshouldbedoable.Thekeytothiskindofbeachportraitistoworkassoonasyouhaveenoughlighttosee.Whenthesuncomesoverthehorizon,thegameisover.It’sashortwindowinwhichtocreateimages,butit’smagical.

Whenthelightisright,thebackgroundinanydirectionholdsfavorabletonalrangescomparedtothesubject.Thismeansthemodelandphotographercanmoveinmoreanglestothelightandcreatedifferentlightpatternswithoutworryingaboutbackgroundproblems.Aslongasthebackgrounddoeswhatyouwantforthecomposition,thesubjectwillbethefocalpoint.

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THREELOOKSImage1(left)wasinspiredbywatercolorartistSteveHanks.Hisworkisbeautifulandinspiring.AsIseeit,watercolorpaintingisaboutthetransparencyandtheartofworkingbackwardfromthewhiteofthepapertothecolorsinvolvedinthescene.Here,Isawmanylayersoftransparency.Thedrysand,thewetsand,theshallowwave,theocean,thedress,andthegirl’sfigure.Ialsolookedfordepthinthebackground.Bylettingthebeachfadeoffinthedistance,theviewergainsasenseofspace.Thefar-offpiergivesoureyesaplacetogo,butitisperpendicularwiththelinesofthebeachandstopsus,turnsusaround,andsendsusbacktothemodel.Yes,itisasimpleimage,butonewithagreatdealofthoughtbehindit.

Image2(facingpage,left)wascreatedabitlaterinthesession.Thesweetlightallowedmetomovearoundthesubjectforadifferentlightpatternandstillholdthebackgroundtones.Yes,Igotmyfeetwet,butitwasworthitbecauseIhadalightsourcethatallowedmetocreateashortlightpattern.Thesubjectcouldmakeeyecontactwithfutureviewers.

It’sworthpointingoutthateyecontactshouldgenerallycomefromalightedmaskoftheface,oratleastasplitlightpattern.Peoplelookingatyoufromwithinashadowcanbecreepy—solightwhatislookingatyou.

Image3(below,right)wascreatedabitearlierinthesession.ThesubjectandImovedawayfromthewaterwhilemaintainingthesamerelationshipwiththelight.Thisway,Icouldcreateashortlightpattern.Byturningthesubject,asingleaccentsculptedherface.Iletherlookdownwithasomberexpressiontomatchthemoodthatwasestablishedbythelight.

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18.SWEETLIGHT,PART2FOCALLENGTHSThesetwoportraitsweremadeduringthesamesessionshowninsection17.Thesameexposuresettingswereusedforthesephotographs: secondatf/4andISO400.Notice,however,thattheimagesdifferfromoneanother.Thefirstimage(below)isafull-lengthscenicimage.Itwascreatedatafocallengthof70mm.Thesecondimage(facingpage)wasshotatafocallengthof140mm.Noticehowthebackgroundblursandthedetailsofthesceneblendtogether,leavingtheviewertofocusonthesubject.

Therearesomanyvariationswecanproduceinascenejustbyknowingwhatourequipmentiscapableof.Bothoftheseimagesshowthesubjectinaprofileposewithgoodprofilelighting.Youcanposeasubjectinaprofilestanceatanygiventime,butyouwillfindthatthephotographwillalwaysbemorepowerfulwhenthelightiscomingfrombehindthesubject.

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WORKSMARTER,NOTHARDERSweetlighttimesaremagicalandeasytoworkin.Thisiswhymyoutdoorfamilyportraitsessionsarealldoneintheevening.Thelightisbetterforsubjectsandbackgrounds.Plus,that’swhenmanyfolksarehomefromwork.Don’tbattle.Worksmarter,notharder.

“Sweetlighttimesaremagicalandeasytoworkin.Thisiswhymyoutdoorfamilyportraitsessionsarealldoneintheevening.”

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W19.GLAMOURGIRL

henIwasinhighschool,JoeKindwasmywrestlingcoach,schoolyearbookadvisor,andphotographyteacher.Inwrestling,Ilearneddiscipline,attentionto

detail,andhowtoworkhardtoachieveagoal.Ialsolearnedthatbasicsaremorepowerfulthan“fancy”inmostcases.When“fancy”worksit’sbecauseaskillwaspracticedenoughthatitbecamebasicforthatparticularathlete/artist.Portraitswithstrong,basicideascanandwillimpressmoreandsellmorethan“fancy”donepoorly.

Iwaslucky.Ilearnedrightawaythatwhathappenedin-camera(thefoundationofthefinalimage)willaffectwhatcanhappeninthedarkroom.Technicalthoughtscanworktogetherwithartisticthoughts.Itisbesttovisualizeyourendresult,thenuseyourtoolsandskillstocreatewhatyouhaveinmind.Thisway,whenyougetintothe“darkroom”or,inmodernterms,“post-process”yourimages,yourworkwillberewardedatahigherlevel.

ADREAMYLOOKSo,howdomylifelessonspertaintothisimage?Well,inthiscase,Ichosetousealonglenstotakeadvantageofthesubject-to-backgroundcompressionthatwouldresult,plusawideapertureforashallowdepthoffield.Theresultwasasoft,dreamylookrightoutofthecamera.Theclothingthesubjectworewaslightincolor.Herhairwaslightincolorandlookedquitesoft.ThenInoticedhereyes—themakeupsheusedbeautifullydefinedthemandmadethemsharpcomparedtotherestofthescene.Ihadhersitontheedgeofmynorth-lightwindowsotheentirewalloflightcouldbeusedtogiveaverygradualtransitionbetweenhighlightandshadow.Iwantedtheviewer’sattentiontogotohereyes,soIhadherturnherbodyawayfromthewindowandturnherfacebacktowardthelight.Bydoingthis,herchestwasshadowedbytherestofherbodyandherfacewasthebrightestpartoftheimage.Iusedonereflectortoproducefillsotheshadowswouldn’tbecomedarkanddisturbinginthispastel,airyscene.Asecondreflectorwasplacedunderthesubjectandtothehighlightsidetoenhancehereyes.

POST-PROCESSINGWeusesoftwaretoenhanceourimagesthesedays,buttheolddarkroomtacticsstillapply.Inthedarkroom,Iwouldburnanddodgetodarkenorlightenanarea.Iwouldusecoloredfilterstocreatedifferentcontrastsanddifferentlookstovariouscolorsintheimage.Later,withthehelpofcoldlightenlargers,IcouldburncontrastintodifferentareasasIsawfit.Thatwasgettingprettyadvancedinthedarkroom,butitwaspossible.Today,wehaveRAWfilesandcanusePhotoshop’sfiltersandthird-partyplug-instocustomprintanimagewithgreaterprecisionthanwaseverpossibleinthetraditionaldarkroom.Yes,themeansofimageenhancementhavechanged,buttheidealsstillholdtrue:thebasicsareafoundationforeventhemostelaboratemove.Startwithsomethinggoodfromthecamera,thenusepost-processingtoenhanceyourresults.

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CanonEOS5DMarkII•CanonEF70–200mmf/2.8LISUSMlensat165mm• second,f/4.0,and400ISO

Forthisimage,IusedNikSilverEfexPro2tocreateseveraldifferentoutcomeswithcoloredfiltersandvariationsincontrast.IthenlayeredtheimagesinPhotoshopandpainted(burnedanddodged)thedesiredeffectwhereIsawfit.

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20.REDTHEPHOTOSHACKIusedtoloadaseniorandparentintomyvehicleanddrivearoundtovariouslocationstofindbuildingswithcharacter.Therewereinherentproblemswiththisapproach:(1)Gaspricesarehigh;(2)moretimewasspentdrivingthancreating;(3)thebuildingskeptgettingtorndownjustasIgottoknowthem.ThisiswhyIbuiltthe“photoshack”(seethephotoonpage40).ItriedtouseoldweatheredmaterialbutrealizedthatIcouldmakeitmorethanjustanoldshack.IpaintedthemiddlebaywallsredandmatchedonesheetofplywoodforextralengthifIneededit.

VISUALIZATIONWhenIsawthissubject’sredshirt,Ivisualizedusingthisareaoftheshack.Hershirtcolorharmonizedwellwiththebackground,givingherareasontoexistthere.Forthisimage,Iproppedtheredplywoodinthecornertomakeasimplebackgroundforherandtocreatedepthinthescene.NormallyIwouldpositionmycameratopointeastorwestandusethenorthlightfromthewindow,butnotthistime.Thistimethesoft,northlightactedasmyfilllight.Themainlightcamefromareflectoroutinthesun.Ifeatheredthedirectlightacrossthesubject.Someofthereflectedlightalsocastashadowoftheplywoodonthewallbehindher.Ididn’tforeseethis;itwasahappyaccident.WhenIlookedthroughthecamera,Ismiled.Iknewitwasgoingtobesomethingspecial.

Yes,Iusuallyliketofindshadetoworkin,butdon’tbeafraidtoharnessabitofrawlightfromthearea.Justbecarefulthatyoudonotblindyourpoorsubjectbypointingthereflectorrightatthem.It’suncomfortableanditwillcauseproblemswhenitcomestimetoprintthephotograph.

“Don’tbeafraidtoharnessabitofrawlightfromthearea.Justbecarefulthatyoudonotblindyourpoorsubjectbypointingthereflectorrightatthem.”

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21.ALLABOARDWARNING!Thisimagediscussionbeginswithawarning:Donotphotographpeopleonworkingrailroadtracksortraincars.Firstofall,itisagainstthelaw.Railroadtracksareprivatepropertyandyoushouldn’tbeonthem.Theyarealsounsafe.Trainsareverylargeandextremelyheavy.Theymovefasterthanyouthinkanddonotstopeasily.Itwouldbearealdownertowalkawayfromoneofyourclientsinhandcuffs.Itwouldbeevenworseifsomeonewerehurtorkilled.Asofthiswriting,Ihaveheardoffourrailroadfatalitieslinkedtophotographythisyear.Don’tbepartofthisstatistic.Thetracksyouseeinmyimagesareexemptandtheyareusedforsnowmobiletrailsinthewinter.ThetraincarIuseisinalumberyard,andIhavepermissiontogothere.Besafefirstandcreativesecond.

LIGHTINGHowdidIgetthelighttodothis?Thekeytothisimage,asisthecaseinmanynaturallightscenarios,istiming.Icanusethisspotintheearlymorningorlateafternoon.Thisparticularimagewasmadeinthelateafternoon.Theoverhangfromthecabooseblockedthedownlight.Theopenskytotheeastproducedanicefill.Therewassomelightskimmingoverthetopofthecarbehindthesubject,creatinganicehairlight.Themainlightwasfromthebrighteropenskytothewest.Thedirectsunlightwasblockedbythetraincaritself,buttherewasstillmoreintensityfromtheopenskytotheeast.Youwillnoticeevenmoredirectionfromourmainlightbecauseofthethinverticalladderandthesubject’sarmactedasasubtractivelightsource.Ifsheweretoleanbackawayfromtheladder,herfacewouldhaveadoubleaccentpatternonit.Bymovingherfaceforward,thelightdirectionwasonlyvisiblefromthewest.

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AGOODCOMBINATIONNoticethebackground.Ineededtouseafairlylongfocallengthtoavoidtherawlightthatwashittingthetraincarbehindthesubjectandtoourright.Atothertimesoftheday,thislightmaybeabletobeduplicated,butthebackgroundwillbecomeunusable.Remember,youneedagoodbackgroundandgoodlightforyoursubjecttoexistwithin.Withoutone,theotherjustdoesn’tcutit.

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A22.LET’SJAM

tleastonceayear,aseniorwalksthroughthedoorwithaguitar.Thisgirlhadaniceoneandlookedgoodwithit.Idecidedtouseclassicallightingwithanedgierpose.

POSINGANDLIGHTINGIchosetobringtheguitarupclosetohercheekandaimthenecktowardthecamera.Thelightwasprettynormalascomparedtomostofmywork.ShewaspositionedontheedgeofthebankofwindowssothatIcouldfullyusethenorthlightasamainlightsource.Onereflectorwasusedforfillandonewasplacedunderthemodelonthehighlightsideofherface.Iturnedherbodyawayfromthewindowandturnedherfacebackintothelightjustenoughtoproduceabroadlightpattern.Iaskedhertonotsmilebuttolookalittlehappyandconfident.SomehowsheknewjustwhatImeant—theexpressionfitthemood.

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Theguitarwasontheshadowsideofthesubjectandwastiltedawayfromthewindow.Ididn’twantthewindowreflectionsontheguitar,astheywouldhavebeendistracting.

BACKGROUND

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ThebackgroundwasfromShootingGalleryBackgrounds.Theydoawonderfuljobofpainting.Theyalsodoagreatjoblisteningtoyouandpaintingtomatchyourneeds.Thisparticularpaintingwascreatedinthemirrorimageofwhatwasintheircatalog.Whenchoosinganewbackground,lookforshapesandpatternsorlightanddarkareasyoucanuseinrelationshipwiththesubject.Remember,thereisnobackgroundlightinthenorthlightstudio.Thebackgroundmustofferseparation.

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23.DOVEGIRLTATTOOSIfmyclienthasatattoo,Iwanttoknowthestorybehindit,asitwillguidewhatIdofortheimage.Thisyoungladyhaddovesonherhip.Herstorywasdeepandsad,asitwastomemorializethelossofafamilymember.

LIGHTINGAsingleaccentfeltrightforthisimage.Iwantedabright,heavenlybackground.Ithoughtonecouldalsobetheother.Iplacedherinfrontofthewindow.Byexposingforher,thebackgroundwouldbeoverexposedtothepointofaglow.IturnedherfaceuntilIsawthelightfeatheracrosshercheekboneandnose.Therewasatleastasix-stopdifferencebetweentheexposedlightonherandthebackground.Thisworkedinmycameraroombecauseofthewhitewallsoppositethewindows.Thewallsprovidedthefilllightthatcreatedtheexposureforherbody,whilethelightfromtheopenskyoutsidecreatedthehighlightsonherface.

Theinkisasecondaryfocalpointtoherfacebecauseherfacehasmoredimension.Thehighlightsthatshowherfeaturesattractattention.Imadesuretherewasenoughlightontheinktobeeasilyseen,butitisthesamelightasontherestofherbody.Byplacingherhandsdiagonallyoneithersideoftheartwork,attentionwasdrawntothatarea.Itallcomesbacktothelightbackground.Herhandsaredarkcomparedtoeverythingelse.Theshadowsideofherfaceisthesamedensityasherhands.Herhandsandfacemakeatrianglethatwefollowwithoureyes.Alongthisfollowedpath,herstoryistold.

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24.TRAINDOORCHALLENGEYOURSELFAfewyearsago,Igavemyselfachallenge.Foreveryseniorsessionthattookmepastthetraincar,Iwouldstopandcreatesomethingdifferent.Iworkedinside,outside,andontopofthecar.Iwouldhaveworkedunderneathifitweren’tforthefurrydwellers.Iusedthetrainatdifferenttimesoftheday.Ilearnedtousesmallandlargelightsources.Isoughtoutdifferentbackgroundpossibilities,largeandsmall.Ifoundareasforthesubjectstosit,stand,lie,lean,andhangamongthetwocars.Thereweremanyanglestofollowandcolorstouse.Thechallengewasgoodformeandmyclients.Itassuredeveryonethattheywouldhavesomethingunique.Peoplelikevariety,andtheyliketohavesomethingtheycancalltheirown.

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THESETUPForthisimage,Iusedthedoorwayofthecaboose.Iwaspositionedacrossfromthedoor,tuckedundertheorecar.Fromthisangle,Icouldseeintothecar.Theboardsonthefloorcreateddepthastheystretchedbeyondthedoor.Thewarmcolorsontheframemadea

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nicecontrasttotheteen’sshirt.Itwasapparentthatthelightwouldbegoodinthatarea,soIbroughtinthesubject.

Theposewassimple;“sitdown”wasallIsaid.Hesatandleanedagainstthedoor.Hewastooflatandsattoofarintothecar,soIhadhimrollonhisbottomtowardthedoor.Thisgaveabetterangleforhisshouldersandbroughthisfaceintothelightcomingfromtheopenwesternsky.Theresultwasabroadlightpatternonhisface.Theopeneasternskyactedasafilllight.Noreflectorswereneeded.Iloveplaceslikethis.Here,Iwasaffordedalittleroofoverheadandgoodlight,plusagoodbackground.Ah,thesimplepleasuresoflife.

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N25.THOUGHTSANDDREAMS

everunderestimatewhatlightdoesforyou.Yes,itisnecessarytoexposetheimage,butitcanalsoguidetheviewer’seyethroughthephotograph,createdepth,tella

story,andportrayemotion.Thatiswhatthisimageisabout.

ACHALLENGINGLOCATIONThisportraitwascreatedinastairwell.Therewerewindowsbehindthesubject.Oppositethewindowsweredarkstairswithadooratthetopandbottomofeachstair.Thelightcamefromthewindows.Iusedareflectorperpendiculartothesubjectforfilllight.

Ishotfromabovesothatthelandingbetweenthestairwellsbecamethebackground.Itwassimplewithoutdistractions.Itwasalsodark,whichshowedabeautifulcontrasttothelightonherface.Onecan’thelpbutlookatthesubject.Thislightdirectioncouldhavealsobeenusedforaprofileportrait.

EMOTIONANDEXPRESSIONWhenyouarriveatyourlocation,lookaroundyoursubject.Maybetheareayou’vechosenwon’tallowyoutocreateaportraitinwhichthesubjectislookingatthecamera,butyoumayfindthatawonderfulopportunityexists.

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Thesubjectlookeddown,sothereisnodirectcommunicationbetweenherandtheviewer.Thisengagestheviewer’simagination.Heorshewillcontemplateherexpression,whichissimultaneouslysimpleandcomplex.

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W26.DREADLOCKS

orkinginthephotoindustryhasallowedmetodosomewonderfulthings.Ihavebeencoasttocoastandbeyond,sharingwhatIdowithotherphotographicartists.

ThisparticularimagewascreatedinFlorida.Thesubjectwasmodelingformyclass.Shehadwonderfuldreadlocks.Sheworeagreen,softknitsweater,whichharmonizedwellwithherhairandeyes.IhadbeenwatchingagroupofstudentsworkingwithherwhenIcameupwiththisidea.

Behindthesubjectwasapatchofgrass.Iknewthatwithalonglensandashallowdepthoffield,Icouldusethecolorofthegrasswithoutshowingitstexture.Ijustneededahighcameraangle.Ifoundagarbagecannearbyanddecidedtoputittouse.Thekeytoclimbingontopofagarbagecanistogetbothfeetuponoppositesidesofthetoprimatthesametime.(Ifoundthisoutaftermyfirstattempttogetonit.)Usingahighcameraangle,IwasabletocapturewhatIhadenvisioned.

CONSIDERTHENUANCESPortraitureisaboutmakingdecisions.Wemustcarefullyconsiderthenuancesofthesubjectandsceneinfrontofusandtweakthedetailstogettheimageweenvision.Imightthinktomyself,“Iwantathought-provokingimage,soIwillwanttousealightingpatternthatkeepspartofthesubject’sfaceinshadow.IfIturnherheadtoachievethat,however,herhairwillcoverherfaceinanunflatteringway.Instead,I’lluseashortlightpatternandhaveherlookdownandshowherfacewithouteyecontact.”Consideryourcreativeoptionsandmakerefinementsasyougo.Inthiscase,Iprobablyshouldhavehadherholdthisposebutlookintothecameraasanotheroption.Whenindoubt,recordtheimage.Youcanalwaystossitawaylaterifyoudon’tlikeit.

LIGHTINGANDPOSINGThelightforthisportraitwassimple.Itwaslateafternoonandanearbyhotelcastashadowovertheyard.Theopenskyovertheoceanprovidedthemainlight.Thetrees

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behindandontheshadowsideofthesubjectactedassubtractivelightsourcesandblockedthelightfromthosedirections.Theonlyplacefromwhichthelightcouldenterthescenewasfromthesideandinfrontofthesubject.AllIneededtodowaspositionmyselfforthebackgroundIwanted,thenplacethesubjectwithinthatframe.Oncethesubjectwasinthecorrectspot,Ihadherrotateherbodyawayfromthelightandherfaceintothelight.Withthat,Icapturedtheimage.

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27.“COCAINELIGHTING”THEBILLBOARDLikemanyofyou,Itrytomakeeachiteminmyyardusefulforphotographs,inadditiontousingitforitsintendedpurpose.Thiswallwasconstructedformydaughtertohitatennisballagainstandalsotokeepthebasketballfromrollingtoofardownthedrivewaywhenmysonhadtheballgetawayfromhim.Ithasalsoworkedwellforafewportraits.Idon’tusuallyworkbythiswallinthelateafternoon,butasthisseniorboyandIwalkedbythislocationatthisparticulartime,hewaswearingahoodedsweatshirt,andIsawthisimageinmymind.

LIGHTING,POSING,ANDCOMPOSITIONTherewasalittlerawlightskimmingoverthetopofthewall.Therawlightwasalsoonthebasketballcourt,bouncingup.Ihadthesubjectputhishoodupandhangintothescene.IhadhimleanbackandforthuntilIcouldgettheaccentfromtherawlighttojusttouchhisclothing,whilekeepingthelightfromthecourtonhisface.IchoseahighcameraanglesoIcouldseeonlythebackofthewallandtwoofthesupports.

Ibroketherulesforthisshot.IusedwhatItypicallycall“cocainelighting.”Iletthelightshootuptheteen’snose.Thislightingisnotveryflattering—it’sbestusedforsomeonewhoistellingaghoststoryaroundthecampfire—butitworkedhere.Withthesubject’sclothingchoiceandexpression,thelightmadesenseandhelpedtellthestory.

Iusedareflectorforfill,asyoucanseeinthediagram.

Ifthesubjectwerewearingshortsleeves,thisapproachwouldnothaveworkedverywell.Hisskinwouldhavebeentooreflectivefortherawlight,andthefilewouldhavebeenanunprintablemess.

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28.ALITTLEHELPFROMHERFRIENDS

CONNECTWITHFRIENDSANDFAMILYIdon’thaveemployees.IfIneedanassistant,Irecruittheparentorfriendofthesubjecttoholdreflectors.Someseniorscomealongforafriend’ssessionwithnointentiontobookme.Afterassisting,theyoftendecidetohiremeafterall.It’snotuncommontohavethreegirlsshowuptwoorthreetimesayear—oncefortheirownsession,andoncemorewithfriends.

THESETUPAfriendofthesubjectwasperchedontopoftheretainingwallwithareflector,whichstoppedthelightfromcomingstraightdownonthesubject.Anotherfriendheldthefillreflector.Thelightwasonlyallowedinfromthesideilluminatedbyopensky.Thefillreflectorwasnotinitsusualplaceforthisshot.Therockwallwasintheway.Ifeatheredsomefilllightfromthehighlightside,justinfrontofthesubject,tocreatethedesiredrelationshipbetweenshadowandhighlight.

Wedidseveralposeswiththissetup.Theteenlookedmostcomfortableinthisphoto,sothisistheoneIshowedtheclient.

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29.BLACKROCKSNOPLACELIKEHOMEIliveintheforestareaofNorthernMichigan.Itiscoldinthewinterandsummergoesbyquickly,butthebeautyofMotherNaturesurroundsusalways.Thebackgroundhereiswhatoncewasthebottomofaragingriver.Therivercontinuestocarveitswaythroughtherock,butitisnowcontrolledbydamsthroughoutitspath.Thebanksoftheriverareveryhighabovethewater,especiallyonthewestbank.ItisbecauseofthishighbankthatIfrequentthislocationforlate-afternoonportraiture.Ashadowiscastacrosstheentireriver,buttheskytotheweststillhasmorepowerthanthatfromtheeast.Igetagooddirectionoflightfromthewest.Icanlookupriverordownriverandgetgoodlightandabackgroundwithouthotspots.

THEAPPROACHIwantedtocreateaclose-upimagebutstillwantedtoseetherock.Ihadthesubjectlieagainsttherockwithherheadtotheeast.Sheturnedherfacetowardthecamera,whichallowedthelightfromthewesternskytoaddshapeandformtoherface.Ikeptherhandsunderherbodyandinshadowtominimizethem.Therocksheleanedonactedasagobo.Iplacedashortblackpaneljustoutsidetheframetokeepthelightonherbacktoneddownincomparisontoherface.YoumaybewonderinghowIcarryallthesereflectorsandpanels.Idon’tcarrymany—usuallytwo.Botharesilverononesideandblackontheother.Onesilverisbright(foraccentlight)andoneissofter(forfill).IfIdon’tneedoneofthereflectors,theoppositesidecanbeusedasagobo.

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30.TRAINSTEPGIRLTRAINCARVARIATIONAsyoucansee,thisportraitsessiontookmebacktothetraincarshownearlier.Thistime,theskywasovercastandIwasshootinginthelateafternoon.Overcast,cloudydaysaresaidtobebestforportraits.Itcanbetrue.Asfarasthebackgroundisconcerned,itismucheasiertoworkonanovercastday.Thereismorespacetoworkwiththatwillremaininthesameprintabletonalrangeasyoursubject.Ah,butthesubject.Onanovercastday,whereisthelightcomingfrom?Stillabove.Yes,youmustplacethesubjectinanareathatwillforcethelightinonedirectiontoproduceflatteringlightonhisorherface.Areasthatwouldworkonabrightdaywillalsoworkwhenitisovercast.

Becauseitwaslateintheafternoon,therewassomeintensityfromthewesternsky,butnotenoughtocastrawlighteverywhere.Therewasalsoagreatdealoflightcomingfromabove.Ichosenottostopthedownlightbutworkwithitinstead.Byhavingthesubjecttipherheadandletherlonghairhangdown,herheadbecameagobo,blockingthelightfromtheundersideofherface.Herlonghairalsoblockedthelightfromthewest.Theresultwasanicelightontheentiremaskofthesubject’sface.

POSINGWITHPURPOSEBecauseIhadthesubjecttipherheadsofartogettherightlight,Ineededareasonforthetilt.Ihadherbringherhandupsoshecouldleanagainstit.Whenyoustudytheimage,you’llnoticethatherarmisnotstraightupanddown.Herhandisbehindhercheekandsheisnotrestingherelbowonherleg,it’stheundersideofherarm.Thiswasdonetominimizethesizerelationshipofherhandtoherfaceandtokeepherhandfrompressingagainstanddistortingherface.Herarmwasangledtodrawtheeyetoherface.Havingherrestonhertricepsratherthanherelbowallowedthistohappenwithoutlookingtooawkward.Herfacewasturnedforthelightbutalsodirectsjustalittleattentiontotheotherarm.Thatarmcirclesbacktotheleaningarm,andthecompositioniscomplete.

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T31.PIANOLIGHTING

hisimagehaslongbeenoneofmyfavorites.Itwillneverwinanyawards,butitmarksthepointinmycareeratwhichIbegantofreemyselfnottolightmysubject’s

face.ItwasalsothepointatwhichIrealizedthatthereareasmanystoriestobetoldbytheabsenceoflightastherearestoriesthataretoldbylightitself.

THELIGHTINGThisportraitwascreatedduringademonstrationinCapeMay,NewJersey.Asyoucanseeinthediagram,thereweretwowindowsintheroom.Therewasacoveredporchoutsidethewindows,whichwerefacingwest.Therawlightfromtheskycouldn’treachintothewindowsunderthecoveredporch,butitstillwasmuchmoreintensethanwhatweseefromanopensky.Thelightskimmedacrossthesubject’sback,showingwonderfuldetailinhershoulderbladesandspine.Italsooutlinedherhair,givingitshapeagainstthedarkpiano.ThenInoticedthelightonthepianoitself.IhadthesubjectslideoveronthebenchuntilIcouldseethelightonthepianorightbehindtheprofileofherface.Therewasnolightonherfaceatall.Thiswasawaytoelicitasombermoodandcreatedepthatthesametime.

Thesubject’sdresswaslongandflowing,withseverallayerstoit.Iusedalayertostopourattentionfromleavingtheimageattheendofthepiano.Inhindsight,Iwouldhavedonesomethingmorecomfortablewithherarms.

CREATEANARRAYOFIMAGESIhaveincludedotherimagesfromthesamesession.Theseportraitexamplesshowotherwaystousethesamelightsource.IcouldprobablyhavecomeupwithafewmoreifIwantedto.Thepointis,whileyouareinalocationwithagoodbackgroundandusablelight,lookforvariety—it’sgoodfortheclientandforyou.Becreative,haveavision,butdon’tbecomesoentrancedwithyouroriginalconceptthatyouoverlookotherideas.

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“Whileyouareinalocationwithagoodbackgroundandusablelight,lookforvariety—it’sgoodfortheclientandforyou.”

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32.MOUNTAINEERFOOTBALLPLAYER

BREAKINGTHERULESIhavesaidnottogooutinthedirectsun.Well,forthisportrait,Ibrokemyownrules.Ihadagoodreason—well,twogoodreasons:First,thesubjectwantedtoshowoffhisshades.Wherebettertodothatthaninthesun?Second,hewasproudofbeingafootballplayerforhishighschoolteam.Thisbackgroundmeansalottohimandhisfamily.Therearetimeswhentheclient’sstoryismoreimportantthangettingjusttherightlight.PortraituresometimesrequiresthesamerulesthatapplywhenIphotographweddings:First,getsomethingrecorded.Ifthereistime,makesomethingbetter.Youcan’tlollygagandwaitforperfection.Youmaymisseverything.

Thisimagewascreatedatmid-morning.Thesunwasupbutstillataprettygoodangletothesubject.Iwasfullyreadytoexposethisimageindirect,rawlight,butatthelastmomentalittlewispofcloudmadeitswaybetweenusandthesun.Itwasstillverybright,asyoucanseebythe shutterspeed,butthesceneleveledoutabit,allowingthebackgroundtobeinagoodrelationshiptothesubject.

Thesubjectwouldhavebeensquintingifitweren’tforthesunglasses.Becauseofthedirectionofthesunlight,Iwasabletopositionhimfairlysquaretousandstillgettheperspectiveofthestadiumwallfadingintothedistance.Thepaintingofthefootballplayerwasonanangledwall,whichworkedoutwellforthisimage.Thesubject,thepainting,andthepowerfullinesofthestadiumtogetherformatriangle.Anyoneviewingthisimagewillfeelthattheycanreachintothescene.Whenthephotographdoesn’tseemtobeaflatpieceofpaper,itbecomesmorepowerful.

“Iwasfullyreadytoexposethisimageindirect,rawlight,butatthelastmomentalittlewispofcloudmadeitswaybetweenusandthesun.”

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PHOTOSHOPENHANCEMENTSTheclientwantedtheimagetobeacombinationofcolorandblack&white.Ilefteverythingblack&whiteexcepthisjerseyandpartofthestadiumwall.Thishelpedtiethesubjecttothescene.

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S33.YELLOWFLOWERS

ometimes,whenIamheadedtoafamiliarlocation,Iseeabackgroundthatisperfectfortheclientandtheiroutfit.Imayseesomethingoutofthecornerofmyeyeandhit

thebrakes.Maybeit’sjustme,butwhenIfindalocationthatisjustright,Igetinspired.

BACKGROUNDFIRSTApainterdoesn’tbeginwiththesubject,thenpaintthebackground—andweshouldn’teither.Youmusthaveapowerfulbackgroundandgoodlight,andthenthesubjectcanexistwithinthespace.WhenIscoutforbackgrounds,Ialsolookforthelight.Thetwohavebecomeoneinmymind’seye.Ineverdisregardcoollookingbackgroundsinbadlight.Ijustmakeamentalnotetogobackatadifferenttimeofday.

CREATINGTHEIMAGEMysubjectandIwereinaditchalongsidetheroad.Theflowersmatchedheroutfitperfectly.Thelightwasfromthewesternsky,butthedirectsunlightwasblockedbypilingsfromtheoldmine.Thetreestotheeastblockedlightfromthatdirection.Theresultwasnicesoftlightwithgooddirection.Iusedagobotoshadethesubject’schesttoensurethatherfacewouldbethebrightestpartoftheimage.

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34.FOOTBALLCLOSEUPINTHECAMERAROOMWhenIwaslayingoutthefootingsformycameraroomandhome,Istartedwiththenorthwall,whichwouldbethelightsourceformyindoorportraits.Iclearedthebuildingsitethentookoutthecompassandtriedtogetaperfectlinerunningeastandwest.EachtimeIcheckedit,Igotadifferentreading.WelcometoIronMountain!Asitturnsout,Iwasoffbyafewdegrees,whichcausesissueslateinthedayduringthesummer.IfIcoulddoitalloveragain,Iwouldensuretherewasatleast12feetbetweentheendofthewindowandtheeastwall.Thesamewouldbetrueonthewestside.Byhavingmorespacefromwindowtowall,youcancontrolthedensityofyourbackgroundandtheangleatwhichyouuseit.Asyoucanseeinthediagram,inthiscase,IneededtoblockthewindowtogetthelightingIwantedforthesubject.Iusedanotherbackgroundtodothis.

Whydidweworkatsuchanangletothewindow?Iwantedtohaveagreatdealofseparationfrombehind.Asyoucanseeontheteen’sshoulderpads,thelightwasonhisrightshoulder.Thehelmetcreatedanedgeandonlyallowedthelighttoskimacrosshisface.Thelengthofthewindowaddedfill.Iusedareflectorforabitmorefillandoneformoreaccentontherightsideoftheimage.Ileftthereflectioninhishelmetsoyoucanseetheplacement.Onemorereflectorwasusedunderhimandonthehighlightsidetoaddfillunderhishelmetandputalittlelifeinhiseyes.

THEPOSEANDCOMPOSITIONHisposegaveusagoodangle.Hisshoulderpadsappearineachcornerandgiveoureyessomethingtofollow.Betweenthecorners,thestoryistoldinhiseyes.

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35.BLUEPALLETS

MIDDAYSUNTherearetimeswhenwefindourselvesoutatmidday.Onthoseoccasions,Iimmediatelyseekoutoverhangs—densetreecover,bridges,porches—toblockthedirectlightfromabove.Thekeyisnottogettoofarundertheseareas.ToomanytimesIseestudentsrightupagainstthetrunkofatree.Yes,thecanopystoppedthedownlight,butthegoodlightwasnotabletogettothesubjecteither.Moveouttotheedgeofthecanopy.Aslongasyoucanfindabackgroundinthatarea,youwillbeingoodshape.

APOPOFCOLORThispileofpalletscaughtmyeye.Thecolorsinthepilewouldworkwellwithmysubject’sclothing.Alargetreeshadedthepalletsandsubject.Thetreewasonabitofahill,sothelightenteredtheareaataniceangletothesubject.Wecouldhaveworkedhereallmorning.

Imovedthepalletstocreategoodleadinglinestothesubject.Whenlookingatascene,ifthereissomethingyoudon’tlike,changeit.Youareresponsiblefortheendresult.

THEPOWEROFLINESToposethesubject,Istartedbyturningherbodyawayfromthelight,withherfaceturnedbacktowardit.Imadediagonalsfromverticals.Herlegswerestraightupanddown.Ihadherkeepherkneestogetherandbringherfeetapart.Diagonallinesleadtheviewer,verticalandhorizontallinesstoptheviewer.Iaskedthesubjecttoleanforwardontoherhand,totheshadowside.Thisway,herhandisinshadowanddoesnotdistractfromherface.Herleftarmwaspositionedtocompleteacompositionalcirclethatleadsusbacktoherface.

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36.BEHINDBLACKROCKSBACKONTHERIVERBEDHereweare,backontheriverbed.It’samazinghowmanyposingopportunitiesnaturegrantsus.Thistime,Ichosetolookuprivertothenorth.Thelightwascomingfromthewesternskyonthislateafternoon.Theentireareawasinshadow.Therewasnorawlightonthescene.

Ilikedwhatthelightwasdoingtothesubject’shair,butherhairblockedthemainlightfromherface.Theeasternskytookoverasthemainlightandthewesternskyactedasanaccentlight.

IpositionedmyselfsoIcouldseethedarkrockaroundthehighlightsideofherandthelight-greenbushontheshadowside.Thiscreatedseparation.Alwaysrememberthatmovingaquarterofaninchonewayoranothermaycompletelychangeyourimage.

ABOUTTHEPOSENaturepresentsgreatpropsforyoursubjecttoleanon.Justbesurethatthepersondoesnotleanonthewrongplaces.Ensurethatthefleshisneversmashedanddistorted.Also,besurethehandsdon’tappearoutofnowhere.Ifyoushowahand,showwhereitcamefrom;leaveaconnectingpointtotherestofthebody.

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I37.PROM’SOVER

seequiteafewpromdressesduringaseniorseason.Ithinkanyparentwouldagreeitisgoodtogetonemoreuseoutofsomethingthatcostafortune.I’lldotraditionalthings

withthedresses—somefull-lengthsittingorstandingposesmixedinwithsomeclose-upimagesisalwaysgood.Thistime,however,Ihadsomethingelseinmind.Iwasthinkingmoreofthestressfromtheprom:thepreparations,thecost,andthenightitselfcanbegrueling.ThatisthestoryIwantedtoconvey.

THESETUPIusedthesouthwallofmycameraroomandthepillarsforthebackground.IplacedthesubjectbythefrontpillarandpositionedmyselfsoIcouldseethreepillarsbehindher.Ithenhadherleanforwardandlungetowardmeuntiltheshadowsideofherhairlinedupwiththehighlightofthepillardirectlybehindher.NowIhadagoodbackgroundandsubjectrelationship.Thelightwastherewithinthescene.Ijustneededthesubjecttoturnherfacebacktowardthelight.

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“Theposealsohelpedtotellthestory.Herlegs,showingatanangle,giveheragoodbaseandleadtheviewertoherface.”

Iusedafillreflectorasshowninthediagramandanaccentreflectortoaddtotheshapeofherlegsanddress.

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Theposealsohelpedtotellthesubject’sstory.Herlegs,showingatanangle,giveheragoodbaseandleadtheviewertoherface.Herbarefeetaddtothefeeloftheimage.IwashappywithwhatIsawthroughthecamera,soIrecordedtheshot.Atthatpoint,IthoughtIwasdone.

FINISHINGOPTIONSPhotoshopallowsforinfiniteartisticoptions.Thisportraitwasstretchedtoachieveabettercompositionandalsotohelpshowthelonelinessasubjectmightfeelonthedayaftertheprom.ImustadmitthatIdidn’tthinkofthisduringoraftertheimagewascreated.MyfriendMichaelTimmonssuggestedtheconcept.Itpaystohangoutwithtalentedpeople.Sometimestheirtalentrubsoffonyou.

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S38.SWEETLIGHTFAMILYPORTRAIT

chedulingisanimportantpartofmylife,asanaturallightphotographerandabusiness-person.Itrytobookseniorsorotherindividualswhoareinterestedin

outdoorimagesformorningsessions.IstartoutdoorsandgetasmuchdoneasIcanbeforethesunistoohightoeasilywork,thenIworkinthecameraroom.Ischeduleexecutivesandotherindoorsessionclientsformiddaywhenthelightoutdoorsisproblematic.Middayisalsoagreattimeforconsultations,imagepresentations,andproductionwork.

Laterintheafternoon,Istartphotographingseniorsagain.Withtheseclients,Iworkindoorsfirst,thenweheadoutdoorsasthesunisgoingdown.

Afamilyscheduledforanoutdoorsessionwillbephotographedintheevening.Igiveanapproximatetimewhenbookingtheappointmentbutrefinethetimeasthesessiondrawscloser.Iconfirmatimeonthedayofthesessionbasedontheweather.Ifit’sclear,thesessionwillbeaboutfifteenminutesbeforesunset.Thisgivesusalittle“get-to-know-each-other”timebeforetherealpushhappens.Assoonasthesundisappears,Iworkquickly.Thisiswhenthebackgroundinalargeareawillholdtogethernicely.Atthistime,thelightisfromalargersource,allowingforgooddimensionacrossanentirefamilywithoutharshshadowscastoneachother.Itisalsowheneventhemostsensitiveeyesarenotaffectedbythelight.

“Assoonasthesundisappears,Iworkquickly.Thisiswhenthebackgroundinalargeareawillholdtogethernicely.”

Sweetlighttimesaremagical.It’sfunny.Iactuallyhavephotographerstellme,“Sureyourimagesarenice.Anyonecandothatduringsweetlighttimes.”Ijustlaughtomyself.Theyareright,itisaneasiertimetowork.Thequestionis,whyaren’ttheytakingadvantageofthatlight?Worksmarter,notharder.Yes.Itcanmakeforalongday,butitmakesabetterfamilyportrait,andatatimewhenmorefamiliescanmakeit.

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Thiswasmy“window,”mylightsource.Thefamilywasjusttothesideofthetreeontheright.Theyfacedthecamera,whichwasplacedontheleftandpointedparalleltotheopening.

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ABACKYARDSESSIONForthisimage,Ichosetopositionthefamilyinalocationinmyyardfacingsouth.Thewesternskyaftersunsetservedasthemainlightsource.Theopeninginthetreestothesideandinfrontofthefamilyforcedthelighttocreateshapeandformoneachface.Thetreesoverheadkeptlightfromenteringfromabove.Nofillwasneeded.

Thephotographonthefacingpageshowstheviewtotherightandaheadfromthesubject’sposition.Itwasagoodmainlight.Remembertositwhereyoursubjectwillbe.Looktowherethemainlightshouldbe.Ifyoudon’tseeamainlightthere,moveontoadifferentplace.

IMAGEDESIGNIpositionedthefamilyinatriangularposewithalittlehillbehindthemforsimplicity’ssake.Behindthehillisalargemeadowareawithtreesonthefarend.Thatfalloffoffocusinthetreesiswhatgivesthisimageasenseofdepth.Whenweseeanimageelementthatismoreoutoffocusthanitemsclosertothesubject,ourbraintellsusitmustbefartheraway.Depthinanimageisyourfriend.Embraceit.

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M39.CHEERLEADER

anyathletescomethroughmystudiodoors.Idoalotofcoachingandsupportingoftheyouthsportsinourarea.Ibothappreciateandrespectthesededicatedfolks.

Plus,Icanrelatetothemandtheirlives.I’vebeenintheirshoes.

PERSONALANDPROFESSIONALGROWTHForaportraitphotographer,thebestthingtolearn,beyondphotography,ishumanbehavior.Psychologyranksrightupthereandsodoesdramaandspeechclass.Anythingthathelpsusunderstandandreadintoourguestsasquicklyaspossibleisgold.

IcanrelatetopeoplequicklybecauseIhavemanyinterests.Iamnotafraidtotryanything,andIloveadventure.Listentodifferentkindsofmusic.Keeptrackofsports,evenifit’snotyourthing.Havingalittlesomethingtothrowoutthereandstartaconversationwithisimportant.Thatbeingsaid,don’tdigyourselfintoahole.Ifyoudon’tknowanythingaboutasubject,sayso.Itiseasytolooklikeafool,andfoolshavesmallerportraitorders.

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THESESSIONThischeerleaderbroughtthewholepackagetothestudio—ahomejersey,awayjersey,jacket,pompons,everything.Shewanteditallinoneimage.Forthefirstimage(facing

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page),Iputasteelgridagainstthebackgroundandclippedthejerseytoit.ThenIsetachairinfrontofthemodelanddrapeditwithherjacket.Shecouldthenstandjusttotheleftofthechairandcreateanicetriangularcomposition.Iusedafocallengthof85mmtoshowallofhergear.

Idon’tgetintoalotofprops,soaftermakingherhappy,Igotridoftheextrastuffandjustfocusedonher.Foroursecondimage(right),Izoomedintoafocallengthof140mmtocompressthebackgroundandmakehermoreimportant.

Bothimageswereexposedusingthesamesettings.Asyoucanseeinthediagram,thecamerawasparalleltothewindowsforthefirstimage.Forthesecondimage,thecamerawasatmoreofanangle.Thisway,Icouldgetamoreappealinglightforthelooking-over-the-shoulderpose.

THEBACKDROPThecolorsinthisbackgroundseemedtoworkwellforthisoutfit.Ipaintedthisbackdropmanyyearsagoforadanceschoolshoot.NoticehowIpainteddarkandlightareas,knowingIwasalwaysgoingtolightthisbackgroundfromtheleft.Canvasbackdropsarejustasimportantasbackgroundsonlocation.Choosewisely.

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40.POINTERSISTERSANIMPORTANTEXERCISEAsIhavesaidbefore,startwithabackgroundandgoodlight,thenletyoursubjectsenterthescene.Thisisagoodexample.Thecameraremainedfairlystationarythroughouttheentiresession.Allthatchangedwasthesubjects’positionswithintheframe.Trythis:Findapleasantbackgroundwithgoodlight.Putyourcameraonatripodandcomposetheimageasyouseefit.Keepinmindwheresubjectscouldbestexist.Thenputyourhandsbehindyourbackandverballyinstructyourgueststoentertheimage.Watchthroughyourviewfinderandtellthemwheretogo—backward,forward,right,orleft—untiltheimageiscomplete.Thenfine-tuneandrecordyourmasterpiece.Itisagoodexercise.Istilldoiteveryonceinawhile.Itforcesmetothinkbacktofront,likeapainter.

REPEATCLIENTSIhavephotographedthesegirlsforseveralyearsnow.ItstartedwhenIphotographedtheirdanceschool.Ididthingsabitdifferently.Iusedotherdancersasbackgroundandforegroundmaterialanddidcompositionstudiesastheirdanceportraits.Therulesweresimple:Theonlydancerthatgetstolookatmeisthemainsubject.AllotherdancersareinstructedtolookdownorawaydependingonwhereIwantedtheviewer’sattentiontogo.Theresulttoldmoreabouttheessenceofdancecomparedtojuststandingagirlwithherhandsonherheadinfrontofabackground.Idon’tphotographthatschoolanymore,buttheirstudentsstillcometometogetthiskindofportrait.

Thesesisterswantedtodosomethingspecial.Theyhadalllearnedtostandenpointe.Itwasquiteanaccomplishment.Iwantedtocreateaportraitthatwasclassicalinnature.Thepillarsinmycameraroomseemedlikethewaytogo.

IsetmycameraforthebackgroundIwantedandpositionedthesubjectsinkeyareasforeachdifferentidea.Eachgirlgotherturntobethemainsubject.Ialsorecordedthemasequals.Alongtheway,Imadesurewedidsmilingimagesofeachgirlandthethreeofthemtogether.ThosewereforGrandma.Don’tforgetaboutGrandma.Makesureyougetsomesmilesnomatterwhatthestoryisthatyouwant.Smilesequalsales.

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Now,let’smoveontothelighting.Thegirlclosesttothecamerawasgoingtohavemoreofadefinedshadowthanthegirlsfartheraway.Thisislogical.Thegirlsfartherawayhadmorelengthofwindows,sothelightwouldwraparoundtheirfaces.Ilikedandembracedtheideathatthegirlsfartherawayweregoingtohavesofterlight,softerfocus,andlesscommunicationwiththeviewer.Itwasallpartoftheplan.

Ifyoulookatthesupportingimage(facingpage),youcanseethattherewerewrought-ironrailingsinthebalconyareaofthespace.Thethemainimage(whichIusedforcompetition)hastheblackrailingsremoved.Theclientdidn’tmindthem,butIfelttheywereadistraction.

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A41.DIAGONALDOORTRIM

greatdealofthoughtwentintocreatingthissimplebutinterestingimage.I’llbeginwiththelight.Theopenskytothenorthprovidedthemainlight.Itevenlylitthe

entirebuildingandthesubject.Itwaslateafternoon,andthesunwasinthewesternsky,justhighenoughtoskimoverthebuilding.Asyoucanseeinthediagram,therawlightactuallyhitthegroundrightnearmycamera.Isawthatthelightwashittingthemodel’shairandshouldersassheleanedagainsttheblackdoor.IhadherstepbackwardalongthebuildinguntilIsawjustahintoftherawlightskimmingthetopofherhead.Itwasjustenoughtogiveabitofseparationwithoutblowingoutherhair.

AHAPPYACCIDENTNow,forthehappyaccidentthatthelightforcedmeinto:Originally,Ihadplannedtomaketheblackdoorwiththewhitedoorbehindittheentirebackground.Becausethelightforcedmetomoveandrethink,Isawtherepetitionofthediagonallinesonthedoors.Waycool!Theblackdooractedasaforegroundwithoutcausingdistractions.Thediagonaldoortrimnexttothesubjectkeepstheviewerfocusedonthescene.Thediagonaltrimbeyondherleadstheeyebacktoherandhelpscreatedepthintheimage.Ialsolikedtheoldconcreteonthegroundbehindthegascan.Thesimpleslabsbringtheviewer’seyepastthesubject,deepintotheimage.Theeyethenstopsattheverticalstripofblocksattheedgeoftheimage.Suddenly,webouncebacktothesubjectwiththehelpofthediagonaltrim.Thecompositionissimultaneouslysimpleandcomplex.It’samazinghowthebrainseesthings.

“Theopenskytothenorthprovidedthemainlight.Itevenlylittheentirebuildingandthesubject.”

ANATURAL-LOOKINGPOSETherewasaneyeletinthedoorthatgavethesubjectsomethingtodowithherrighthand.Iwantedastrongleanofherbodytocontrastthediagonaltrim.Together,theyformaVshape.Herheadwastippedparallelwiththetrimonbothdoors.Thishelpedbuildarelationshipbetweenthesubjectandbackground.Ihadherturnherhipsandcrossherlegs.Withherthumbinherpocket,wewerereadytorecord.

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42.TRAINHANGSAFETYFIRSTHereisthesameseniorshowninsection41,photographedafewmomentslater.Iwalkedpastthebuildingshewasleaningagainsttothetraincarsthatwereparkedthere.Note:Thesecarsarenotonrailroadtracks.Theyarestoredinanabandonedtrainyard.Thetrackisdisconnectedandleadsnowhere.Neverphotographbyactivetrainsorworkonlivetracks.

ANAPPEALINGLOCATIONIdidliketherepetitionofthecars.Ilikedthewarmcolors,andthelightwasnice.Themainlightwasactuallytheopenskytotheeastofthesubject.Thebuildingkeptlightfromenteringtoomuchfrombehind,anditreflectedsomerawlightthatproducedanaccentinherhair.Youcanalsoseeitonhersleevebyherface.Thetraincarsshadowedtheareabut,asyoucansee,afewlittlestripsofrawlightmadetheirwaybetweenthecars.Sincethelightwasfeatheringacrossthelonggrass,Ifigureditwasn’tgoingtocauseanyproblems.Thelightshowedthemaskofherface,andIlethersmileandbehappy.

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Forthepose,Ihadherjuststandbythecar.Sheturneddiagonaltome.Ihadherputherweightonherbackfoot,thenshereachedupandgrabbedthehandleonthecar.Itseemedmorecomfortableandlookedmoreslimmingtohavehercrossherleftlegoverherright.Herrightarmwasinitiallytoofarback.IhadhermoveitforwarduntilIcouldseeagoodconnectingpointwithoutmakingherlookwideacrossthemiddle.Agoodtip

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oftheheadandalittleworkonherhair,andallwascomplete.

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43.GRASSYBEACHSWEETLIGHTREVISITEDHere’sanotherexampleofsweetlight.Thesunwasalmostdown,andsometreesonthehorizonblockedmostofthedirectlight.

ABEAUTIFULBACKGROUNDThreestepsoutoftheparkinglot,Isawthisbackground.Thelightwasniceintheimmediatearea,soIstoppedtoplay.Inoticedthepathinthesandwithtallgrassoneitherside.Isatthemodeldownontheedgeofthepath,soIcouldseethepathbeyondherbody.Thiscreatedasenseofdimension.

Ilikedhowthegrasssharedcharacteristicswiththesubject’shair.Thishelpedtiehertothebackground.Iposedhersothatherhairwouldmimicthefeelingofthegrassbehindher.

Icouldn’tchangewherethesunwassetting,soIchangedthesubject’srelationshiptothelight.Inthispose,herbodywasturnedawayfromthelight,withherfaceturnedbacktowardit.Herbodywasdark,andherfacewaslight.Alwaysusethelighttomotivatepeopletolookwhereyouwantthemtolook.

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44.SKATERBOYSKY

HAVEFUNIt’simportanttoplay.Gettoknowyoursubjectandletthembethemselves.IfIhaveamusicianinmystudio,Iaskthemtoplay.Athletesshowofftheirstuff.Itmakesthemcomfortableandmakesformoremeaningfulimagesandbiggersales.Learnwhoyoursubjectsare,thenusewhatyouknowaboutartisticportraituretoshowyourviewerswhoyoursubjectsreallyare.

Duringthisparticularsession,Iwatchedthesubjectlaunchhimselfontothetower.Ididsomeactionshots,butacontrolledportraitwaswhatIwasafter(andwhathismomwanted).WhenIsawhimonthetower,Ithought,“Whatacoolviewpoint!”Ihadhimlookovertheedge.Hehookedtheboardontheedgeofthewall,andIsawthestoryIwanted.

NATURALLIGHTThetowerwaspositionedjustrightforwherethesunwas.Itwaslateafternoonandtheshadowswerefallinghardtocameraleft.Icouldn’tputareflectorundertheteenbecauseitwouldshowinhisglasses,soIplacedasilverreflectorofftotheeast.Thislitthebottomofhisboardandaddedalittleaccentonhisrightcheek.Therestofthelightthatbroughtouthisfacecamefromalargerampbelowthetower.Iwasfacingsoutheast,sotheskylooksniceandblue.

“IfIhaveamusicianinmystudio,Iaskthemtoplay.Athletesshowofftheirstuff.Itmakesthemcomfortable…”

POSTPRODUCTIONIusedNikSoftware’sTonalContrastfiltertoaddsomepunchtotheskateboardandalittletohisface.

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M45.LAKESWIMMER

yniecewasonherhighschoolswimteam.Shethoughtitmightbenicetohaveimagesmadewithherinthewater.Thislocationwasperfect.Thereisadockto

standon.Ididn’thavetogetwetandwasabletolookdownonheralittle,whichallowedmetoshowthelakearoundher.Fromthisangle,therewerenodistractionsfromtrees,weeds,orhorizonlines.

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THEPOSEIhadthesubjectstandwithequalweightonbothfeet,andshecrossedherarms.Icenteredhertoshowpower.Toensuretheposeworkedinthelightwehad,Iturnedherslightlytowardthelaketoshadowherbodyandhadherturnherfacebacktowardthelight.Asternexpressionseemedtosuitthepose.

Theislandoverherleftshoulderandthetreesontheleftmakeatriangletoher.Withthewaterequallyonbothsides,thereissymmetry.

WHYNOTUSESTROBES?IfIusedstrobes,Icouldworkatanytimeofday—butitwouldn’tbethesame.First,thewindusuallycalmsdownintheevening,andthewater’ssurfacebecomesglass-like.Second,nostrobecouldlightthesubjectandthetreesinthebackgroundtokeepexposuredetail.

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46.BLACKORELETTHEMDOWHATTHEYDOIdecidedtoaddthisimagetothebookatthelastminute.It’saniceportrait,andthelightandbackgroundaregood,buttheexampleIwantedtoshareisthesubject.Thisistheskaterboyshowninanearliersection.Itwaslaterinhissession,twentymilesawayfromtheskatepark.ThisiswhyIdon’tincorporatespecificposes.Itoldhimtobelow.Thisiswhathedid.Helooksstrikinglyliketheposeinhistowerimage.Why?Becauseitishim.Itiswhathedoes.Watchyoursubjects.Letthemdowhattheydo,thentweaktheposetobemorephotographicallycorrect.Themoreapersonlookslikethemselves,thebetteryourimageswillbereceivedbythemandtheirfamily.

LIGHTINGLet’smoveontothelight.Ichosethisbackgroundforthecolorandbecauseitcastashadowoveritself.Thesunwasstillup,butnotbymuch.Therewasrawlightonthegroundinfrontofthepileofore.Ihadtheteenwalkintothesceneuntilthepileblockedtherawlightfromhittinghim.ThenIhadhimsquatdown.Hewasontheveryedgeoftherawlight;thispresentedaclean,crisp,dimensionalviewofhisfeatures.Ididneedanaccentreflector(itwasplacedasshowninthetopviewdiagram)tohelpseparatehimfromtheblackore.Asyoucanseeinthesideviewdiagram,thepileoforedefinedtheedgeofthelightsource.Noticethenicetextureintheguy’shair,clothing,andskin.Ifheweretogofartherintotheshadowoftheore,thelightwouldflattenoutandeventuallycomefromtheotherdirection.Icouldhavehadhimgotothebackofthepile,asshowninthesideviewdiagram.Thelightwouldhavebeenfromtheeast,withlesscontrast,andthebackgroundwouldhavebeendifferent,butitwouldhaveworked.Animagewiththesubjectpositionedinthemiddleofthepilewouldnotworkaswell.Thelightwouldhavehadthesameflat,contaminatedlookthatyouwouldfindiftoodeepunderthecanopyofatree.Themoralofthestoryis,liveontheedge.

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47.WATERCOLORGIRLSADISTINCTIVELOOKAsmallpartofmemissesfilm,butwhenIlookatallthetoolsatourdisposalnow,thefeelinggoesawayquickly.Ilovethefactthatwecanprintaphotographicimageonwatercolorpaper.Wecanenjoythemagicofthetexturesandthesoftnessthatthemediumhastooffer.Iloveitwhenlittlegirlsattiredinpastelswalkthroughmydoors.IinstantlyknowatleastonedirectionIamgoingtogo.

Itendtokeeplightcolorsonlightbackgrounds.Thisway,thesubject’sfaceisincontrastwiththeclothingandbackground,and,assuch,itwilldrawtheeye.However,westillneedtolightthefacecorrectly.

Forthisimage,Iusedmynorthlightcameraroom.Ipositionedthesubjectsagainstapillar,asshowninthediagram.Thepillarallowedmetousetheedgeofthelightcomingfromthewindow.Theoldergirlbecamethebasefortheimage.Iturnedherawayfromthelightbuthadherturnherfacebacktowardme.Thisgaveanappropriatebroadlight.Theyoungergirljustsnuggledintohersister.Whentheystartedholdingeachother,Iquicklyrepositionedtheirarmstoformacirclewiththeirfaces.Thiscirclewillholdtheviewer’seye.Becausetheyoungergirlwasposedtowardhersister,thelightfromthewindowproducedashortlightpatternonherface.Thebroadlightallowedforthesombereyecontactoftheoldergirl.Becauseshortlightisusuallyahappylightpattern,Ihadthelittlesisterlookawayfromthecameratoavoideyecontactwiththeaudience.Nowbetweenthelightpatternsandtheposing,thesoftemotionwasportrayed.

“Itendtokeeplightcolorsonlightbackgrounds.Thisway,thefaceisincontrastwiththeclothingandbackground,andwilldrawtheeye.”

POSTPRODUCTIONThepost-processworkonthisimagewasdonewithlayersofwhitebackgroundsandlayermasks.Ipainteddifferentopacitiesofthewhiteunderlyingbackgroundstoenhancetheexistinghighlights.ThenIvignettedtheimageuntilitfadedtowhite.Thistypeofpost-processworkismeantforwatercolorprinting.

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M48.WEDDINGRAPIDS

anyyearsago,ataphotographyconvention,Ioverheardotherattendeesconversing.Theyweresearchingforaprogramtoattendandlookedatthesign

outsidethedooroftheroomIwaswaitingtoenter.Itwasaweddingprogram.Oneattendeesaid,“Oh,it’saweddingprogram.Idon’tdoweddings.I’mnotgoingin.”It’sashamethattheymissedit.Ilearnedportraiturefromaweddingphotographer.IdiscoveredtechniquesIcouldusewhenphotographingseniors,families,orchasingkidsaroundtheyard.Itdoesnotmatterifyouphotographweddings,rockstars,orrocks.Lightislightand

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compositioniscomposition.Thereismuchtolearnfromeveryone.

ONTHECOURSEThisbrideandgroomwantedoutdoorportraits.Weborrowedacoupleofgolfcartsandhitthelinks.Armedwithphotogearinsteadofclubs,wefoundafewnicebackgroundswithnicelight.Thiswasoneofthem.

Asshowninthediagram,therewasanopenareaoverthefairwaytomyright.Treeslinedtheleftsideoftheimageaswellastheentireareabehindthecouple.Thebridewasstandingbyatalloaktree.Itscanopyreducedthelightfromabovebutallowedittoenterfromtheopensky.Duetothelayoutofthearea,lightcouldonlyenterthescenefrommyrightandbehindme.Wehadastreamandwoods,goodlight,andabridalcouple.Lifewasgood.

CanonEOS5DMarkII,CanonEF70–200mmf/2.8LISUSMlens.Exposure:f/5.6, ,400ISO.Focallengthat75mm.

TIMEISOFTHEESSENCEOnaweddingday,timeisoftheessence.SinceIfoundagoodplacetoplay,Iplannedtodomultipleshotshere.Istartedwiththecoupletogether.Ileanedthegroomagainstthetreeandhadthebrideleanintohim.Thetime-consumingpartwasherdress.Sinceitwasalreadyinagoodplace,Ileftitthere.Ipulledthegroomdowntotheforegroundandcreatedanotherimagewithouthavingtorepositionthedress.Then,IhadthegroomstepoutandIphotographedthebride.Thistime,Ihadtomakeaminorchangetothepositionofthedress.

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Theseimagesweremadepossiblebecauseofnaturallight.ThesourcewaslargeenoughthatIcouldmovethesubjectsaroundandstillhavethesamedirectionandexposureoflightfrompersontopersonandimagetoimage.

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49.THEBROWNLOUNGEFURNITUREASPROPSAfewyearsago,Iwaswastingtimeinafurniturestorewhilethesalespersontalkedtomywifeaboutnewcouches.Outofthecornerofmyeye,Isawthischaiselounge.Inoticedthatthetexturesintheseatrepeatedinadiagonalpattern.Isawthenicesoftsweepoftheheadofthelounge.Ithoughttomyself,“Ifyounoticedthislounge,amidstalloftheotherfurniture,itmusthavegoodpotentialforaposingprop.”Weboughtit.Iwasright—itwasagreatproponceitwasheavedintoplace.Ididn’tknowhowheavyitwasuntilitwasdelivered,andnowitisapermanentfixtureinmyhouse.

THESETUPForthisportrait,Iturnedtheloungediagonallytothebackdropwiththeheadfacingawayfromthelight.Ichoseabrownbackgroundtomatchtheloungeandselectedthedarkshirtforthesenior.Ihadtheentirescenesetupbeforetheteenenteredtheroom.Ievenpositionedthereflectors.IknewwhereIwasgoingtoneedthelight.

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Whentheteencameintotheroom,allIdidwasaskhertositdownfacingmeandleanoverthelounge.Ifixedherhairtoshowitslengthandrepositionedherhandsslightly,buttherewasn’tmuchtodo.Noticehowthelightonherfaceisupagainstthedarkshapeonthebackgroundandthedarksideofherfaceisupagainstalightershape?Thiswasplannedinadvance.Beforetheseniorcameoutofthedressingroom,Ilookedatthehead

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oftheloungeandsawgoodlightthere.Iknewthatsamegoodlightwouldfallonthesubject.Iusethisapproachoften.Forexample,ifIamtophotographachildwhocan’tstandstill,IplaceachairwhereIwantittoestablishthedesiredlightandbackgroundrelationship.ThenIhavethechildsitonthechairorstandbyit.Eveniftheyonlystayforamoment,atleasttheyareintherightspot.

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50.JACKANDJILLJUSTLETTHESUBJECTSEXISTItwasfrustratingtocreateportraitsofmykids.Seriously.WhenItookphotographsofeveryoneelse’schildren,thingsworkedoutjustfine,butwhenmykidswereinfrontofmylens,nothingseemedtogoright.Iguessitjustseemedlikeplaytimetothem.Thelastthingtheywantedwastositstillforaportrait.Ialwaystoldotherphotographers,“Findabackgroundwithgoodlightandletthesubjectsexist.”Afterafewattempts,Istartedtolistentomyself.

AMEANINGFULLOCATIONWespentalotoftimeatanoldcabinaskids.Whentheweatherstartedgettingcold,thewaterwasturnedofftothecabin.Ifwespentanytimeatthecabinafterthat,wehadtogetwaterfromthispump.Iremembermakingmanytripswithwatersloshingoutofthebucket.Itwasn’treallyanassignedchore;Ijustlikeddoingit.

Thepumpisstilltheretoday.Ithasmeaningtomeandmyfamily,soIdecidedtouseitforthisportrait.

Nexttothepumpisanoldlogcabin.Theyardislinedwithtrees,andtherearedeepwoodedareas.Inthelateafternoon,thecabincastsashadowoverthepumparea.Thetreestothenorthandwestblocklightfromfallingonthebackground.Theopenskytotheeastprovidestheonlylightthatcanreachthepump.Itisforcedintothesceneperfectlyforaportrait.

Ididn’twantthekidstoknowIwastryingtotakepictures,soIdidn’ttakemycameraoutofthebaguntilIshowedthemhowtousethepump.Oncetheystartedhavingfun,Ipulledthecameraout,setitonthetripod,andstartedrecording.IfeltasthoughIhadwon.

“Therewasalittleredinthebackground,butitwasn’tenoughtodrawattention,soIenhancedit…”

POSTPRODUCTIONItwasearlyfallwhenIcreatedthisimage.Theleaveswerejuststartingtoturn.Therewasalittleredinthebackground,butitwasn’tenoughtodrawattention,soIenhanceditandaddedabitmoreredtoharmonizewiththepump.Ialsoaddedsomeyellowinthetopcenteroftheimagetocontrasttheblueoutfitsandhelpcreateasenseofdepth.Iaddedalittleorangetotheleavesbehindmyboyandtooneleafinfrontofthekidstokeeptheviewer’seyebouncingbackandforthintheimage.Thisimageisstillhanginginourhome,partlyasagreatmemoryofourchildrenandpartlyasatrophyforfinallywinningtheportraitwar.

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51.PAPABEARLIGHTINGTHEPROFILEOneofthelightingpatternsIseemostmisusedinnaturallightisprofilelight.Theproblemseemstobeparticularlyprevalentwithbrides.Wehaveabrideinawhitedresswithlaceandbeadwork,andsheisholdingflowers.Thephotographerposesherinthemiddleofthewindowandhasherlookoutdreamilyovertheworld.Hecanseeherfacelightupandseetheprofile;hethinksallisgood.Whenthefilesareprocessed,theflowersareblownout,thedresshasnodetail,andthelightoutliningthebride’sfaceisglowing.Astrangeorangelinefollowstheedgeoftheglow.Whathappened?Wastheexposureincorrect?Itmayhavebeen,butthisproblemwouldhaveoccurredeveniftheimagewereexposedcorrectly.

Lighttravelsinastraightline.Iflightisdirectedstraightatareflectivesurface,itwillbounceoffandreturntothesource.Thisbecomesaspectrallight.Intermsofonesandzeros,whichiswhatdigitalfilesare,howmuchinformationdoyouthinkisinaspectralhighlight?Theansweriszero.So,howdowecreateaprofilelightandstillholddetail?

THEAPPROACHIwantedaprofileofthisnewfatherholdinghisson.Iplacedabackgroundinthenormallocationontheeastwall.Ipositionedanotherbackgroundalongthewindowstoactasagobo.Thesubjectsatattheedgeofthegoboonthesamesideofthewindowasthecamera.(Ifhelookedstraightforward,hewouldhavebeenlookingatthelight-blockingdevice.)Thisway,thelightwasforcedfrombehindthesubjectinrelationshiptowherethecamerawas.Thelightskimmedacrossthesubjectanddidnotblowoutanydetail.Noticehowyoucanseetheporesinhisskinandthesofthaironthenewborn’shead.Ifthesubjectswereinthemiddleofthewindow,noneofthatwouldbeshowing.Inmystudio,theotherwindowsprovidefilllight.Inotherlocations,thewallbetweenwindowswillworkasagobo.Justremembertoplacethesubjectonthesamesideofthewindowasyouareon.Youwillcreateamuchbetterprofilelightandyoursubjects(andvendors,inthecaseofbridalportraits)willlikeyouawholelotmore.

“Lighttravelsinastraightline.Iflightisdirectedstraightatareflectivesurfaceitwillbounceoffandreturntothesource.Thisbecomesaspectrallight.”

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52.TRAINWHEELPOSEWITHINTHELIGHTWhenthesunisyourmainlightsource,youmustmovethesubjectandyourselfinrelationshiptothelighttogetflatteringresults.Forthisreason,Ioftensay“Posewithinthelight.”

Thisimagewasmadeusingacomponentofthetraincarseenelsewhereinthisbook.Thesubjectwasposedbetweenthetraincarsandstoodonthehitch.Thewheelsheisleaningonhas,Iassume,somethingtodowiththeconnectionsforthecars.Itmadeforagoodprop.

WHYTHEPOSEWORKSUsingthisleaningposeallowedafewgoodthingstohappen.First,herbodyformedagreatleadinglinetoherface.Second,theposedrewattentiontoherlonghair.Third,thehorizontalimagewasanicecounterpointtothepredominantlyverticalimagesIcapturedduringthesession.Fourth,theposemadegooduseoflight,whichwascomingfromananglethatwouldhavebeentoolowwithamoreuprightpose.

Thisimagewascreatedinthelateafternoonunderovercastskies.Thelightwasenteringequallyfrombothsidesofthecars,soIusedthisposetocreatethedirectionoflightthatwesee.Withherbodyleaningthismuch,herheadtiltlookscomfortable.Thelightfromaboveandtotheeastilluminatedhalfofherface.Herheadblockedthelightfromtherestofherface.

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Sincethecaboosewasonly2feetaway,nolightcamefrominfrontofthesubject’sface.Therefore,itappearsasifasplitlightpatternwasused.Okay,Ididsaythelightwasequalfrombothsidesofthecar—butIusedthesubject’smotherasagobo.Shewasstandingjustoutsideoftheframetoourright.Shedidn’tknowit,butinherattempttowatchthesessionfromaclosedistance,shewasalsohelpingmylighting.Anythingcanblocklight.Usewhatisavailabletoyou.

Timingiseverything.Again,thisimagewasmadelateintheday,underovercastskies.Atmidday,thesunlightenteringthisareawouldhavebeentooharsh.Thebackgroundwouldhavesomuchcontrastfromhighlighttoshadowthatphotographicpaperwouldnotbeabletoholdthetonalrange.Thesubjectwouldhavenodetailinherhairorskin.Sure,wearenaturallightphotographers,butthatdoesn’tmeanthatanynaturallightwillworkfortheportraitwehaveinmind.Ihaveheardpeoplesay,“You’reaprofessional.Youshouldbeabletoworkanywhere.”Thatmaybetrue,butmythinkingisthataprofessionalshouldalsoknowwhensomethingwillorwon’twork.Noteverytime/locationcombinationwillyieldgoodresults.Thatbeingsaid,ifaclientneedstohaveaportraitmadeinaspecificareaandthelightisbad,Icanopttousestrobestogetthejobdone.

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53.ONTHEROCKSTHEOLDOREMINEIt’sgreattofindlocationsthatprovidegoodshadeforalongperiodoftime.Thisisthecasewiththepilingsfromtheoldoremine.Thepileofjaggedrockisverytallandfairlysteep.ThestretchofdebrisIuserunsnorthandsouth.Asthesunreachesthewesternsky,aniceshadowcoversthebottomofthehillandthesurroundingarea.Itisaniceplacetoworkinthelateafternoon,andthegoodlightingconditionslastalongtime.Asyoucanseeinthesideviewdiagram,thehillofrocksisincompleteshadowandmakesanevenlyilluminatedbackground.Lightcannotcomefromtherockstotherightorfromthetreesbehindthesubject,sothatmeansthelightcanonlycomefromthenorth,theeast,orabove.Ihadtokeepthisfactinmindwhendecidinghowthesubjectshouldposewithinthelight.

Ichosetousethelightfromabovethesubject’sface.Becauseofthepose,shewasabletotiltherheaddramaticallyandstilllookcomfortable.Herhanginghairblockedthesoftlightfromtheeast.Thegroundactedasasubtractivelightsourcetoo.LightfellontoherfacefromaboveandfrombehindthecamerawiththesamewraparoundqualityI’dexpectinmycameraroom.Thewalloflightwasjustrotatedonitsaxistomatchtheaxisofherheadtilt.

THEPERKSOFNATURALLIGHTIfyoustudytheentirebody,youwillnoticethelightontheteen’slegwascomingfromtheeast.Itdidagreatjobofcreatingshape.Thistellsmethatwecouldhaveposedhertouselightfromthatdirectionaswell.Theadvantageofunderstandingandusingnaturallightisthatyoucanusebodypositionstorelatetodifferentlightsourceswithinthesameimage—withoutcarryingmultiplesetsofstrobesandmodifiersalloverthecountryside.Couldyouimaginetryingtolightthiswithstrobes?Thelocaleistooruggedtouselightstands.Youwouldneedseveralassistantstoholdyourlights.

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“Couldyouimaginetryingtolightthiswithstrobes?Thelocaleistooruggedtouselightstands.Youwouldneedseveralassistantstoholdyourlights.”

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54.LAKEANTOINEATSUNDOWNTOTHEBEACH!Onceagain,wefindourselvesatthebeach.Whenisthebesttimetoshoot?Youshouldknowbynowthatit’slateeveningorearlymorning.Sincemostteenagegirlswouldrathernothavetheirportraitsdoneat4:30AM,eveningseemedliketherighttimeforthissession.Thisshotwasmadeafterthesundisappearedbehindthetreesonthehorizon.Whentherawlightwascompletelygone,Istartedworking.Iwillsaythis:Usingthelakeshoresinlandallowsformuchmoretimetoworkonthebeach,ascomparedtoworkingontheoceanshores.WhenIteachonthebeachesofCalifornia,oncethesunmeltsintothewater,itgetsdarkfast.Inland,whereIworkmostofthetime,thetreesandtopographyofthesurroundingsblocktherawlightfromthesunearlier;thisallowsmetobeginworkingbeforethesunhasactuallyset.Whatanadvantage!ThesameruleappliestotheEastCoastduringourmorningsessions.Whenthereisnothingbutwaterinthewayofthesun,therawlightappearsquickly.Justbeawareofthissoyoudon’tgetcaughtoffguard.

CLOTHINGIwentthroughthegirl’swardrobebeforethesessionbeganandfoundthisdress.Shewasscheduledforanextendedsession,andthebeachwastobeourlaststop.Iimmediatelyknewthiswastobeherfinalclothingchange.Thecoolcolorofthewaterwassuretoworkwellwiththebluecolorsinthedress.

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COMPOSITIONANDPOSEThebeachrunsnearlynorthandsouth.IpositionedtheteensothatIcouldseesomebeachallaroundher—andsomewatertoharmonizewiththedress.Herposeparallelsthewaterlineandproducesniceleadinglinesthatdirecttheviewer’sgazetoherface.For

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modesty’ssake,Ihadherholdherdressfromunderherknees.Thisgavehersomethingtodowithherhandswithoutruiningtheleadinglines.Italsohelpedgivehershape.HerheadwastippedtothelefttocreatebalanceintheposeandallowthelighttoformaRembrandtpatternontheteen’sface.IfherfaceweretofollowmeasImovedclosertothewaterandshowedthebeachasabackground,we’dhavehadashortlightpattern.Inthatsamelocation,ifsheturnedherheadtotheshore,thepatternwouldbebroadlighting.Youcanoftentakeadvantageofmanyoptionsjustbyhavingthesubjectturntheirhead.

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55.PURPLEDITCHHITTINGTHEBRAKESThiswasanotheroccasionwhereIsawsomethingcoolwhiledrivingandhadtohitthebrakes.Intheditch,not10feetawayfrom60MPHtraffic,thereweretall,purpleflowers.Wehadtogoplay.

Thetreesalongtheroadshadowedtheareafromtheearly-eveningsun.Themostintenselightcamefromtheopenskytothesouth.Somelightcamefromtheeast,butitwasnotaspowerful,andtheresultwasawraparoundlightingeffect.Iaddedablackpaneljustoutofviewtothesubject’sleft.Thisgaveabitmoreshadowontheleftsideofherface.Anotherreflectorwasaddedfromunderneathandonherhighlightsidetoaddalittlelightunderhereyes.

Ienjoyedthetransparentlookoftheflowersandtheopaquequalityofthestems.Thelookofthedarkstemsisrepeatedinthetreesfartherinthebackground.Thishelpedcreateasenseofdepth.Theflowersfadingoutoffocusalsoenhancedthefeelingofathirddimension.

THEPOSETheposewassimple.Isawatriangleoflightyellowinthescenebehindher,soImimickeditwithherpose.Thephotobelowshowswhatwasgoingthroughmymindasfarasrelatingthesubjecttothebackground.Theopposingcornersalsomatched.Thesewereingredientsforgoodbalance.Everythinginyourimageshouldhaveapurpose.

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56.FOUNDONTHEDOORSTEPEARLYMORNINGSESSIONInthesummer,thesunrisesoverthetreesearly.By8:30AM,theonlyplacesinshadowareonthewestsideofbuildingsandunderlargeoverhangs.

Outdoorsetsshouldbeingoodqualitylightforasmuchofthedayaspossible.Myphotoshackhasadoorandwindowonboththeeastandwestendsofthestructure—thewestforthemorningsessionsandtheeastforafternoonshoots.

THEPOSEIhadmyguestsitonthedoorsteponthewestside.Shenaturallyleanedforwardonherlegs.Ihadherbringherfeetaparttocreatediagonallines.

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LIGHTINGTreestothesouthandwestblockedmuchofthelightfromtheopensky.Themainlightwascomingfromthelargerclearingandtheopennorthsky.Asthesubjectleanedforward,herfaceenteredthelight.Notethatherfaceandhandarebrighterthanher

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shoulder.Hershoulderwasnaturallytoneddownbecausethewallblockedthenorthlight.Ipositionedmyselftogetalookintotheshackandachieveagoodpatternoflightonherfacewithoutcontortinghertoomuch.Iusedareflectorunderthesubjectonthehighlightsidetobrightenhereyes.

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57.PEOPLEWATCHINGFINDINGBEAUTIFULLIGHTThenexttimeyouaretravelingbyair,watchpeople.Mostairportshavemassivewindowsandlonghallwaysthatcreateagreatcombinationoflightandbackground.Peoplearenaturallywalkingthroughtheareas.Whensomethingcatchesyoureye,chancesare,it’sbecausethepersonwalkedintoanareaofgreatlight.Notewherethelightwascomingfromatthatmoment.Thehopeisthatyoulearnfromthisdiscoveryandduplicatetheeffectonassignment.

SEIZETHEMOMENTThisimagewascreatedduringoneofmyclassdemonstrations.Thesubjectwasoneofmystudents,andnotthepersonIwasphotographing.AsItalkedtotheclass,InoticedthebeautifullightonhisfaceandIhadtogooffonasmalltangent.

Asyoucanseeinthediagram,thesubjectwasstandingnearapillaronthesecondstoryofacoveredhallway.Theopen-aircourtyardallowedlighttocomeinandbounceoffthewallbehindthesubject.Thelightfromtheopenskyfromthesouthwestcouldonlygettohimfrombehindaswellbecausethepillarblockedthelightfromdirectlytothesideofhim.Theendresultwasaverynicedoubleaccentlight.Ijusthadtorecordit.

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Somyquestiontoyouis,Whattimeofdaywasit?Wouldthisimageworkrighthereatadifferenttimeofday?

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58.OPENDOORGOODLIGHTANDASIMPLEBACKGROUNDThisisanothergoodexampleofposingwithinthelight.Mystudents,ourmodel,andIwereonourwaytoanareathatIknewhadgoodlightandasimplebackground.WhenIgottothelocation,Iturnedtowatcheveryonewalkthroughthedoorsandsawwonderfullight.

CREATINGTHEIMAGEIhadthesubjectholdthedoorhalfwayoutandleanaroundit.Thisbroughthisfaceforwardintogoodlightandtwistedhiscoreenoughtoallowthesamelighttoskimacrossit.Noreflectorswereneeded.Thefillcamefromthelengthofthelightsource,asyoucanseeinthediagramandthephotographofthearea.

Thesunwasjustoutofviewbeyondthefarwall.Thelightfromtheskywasmoreintensefromthemodel’ssideoftheporchthanontheeastside.Thiscausedthehardercontrastbetweenshadowandhighlight,whichwasgoodinthiscase.

“Bychangingtherelationshipbetweenthereflectiveglassdoorandtheopensky,thereflectionwasgreatlyreduced.”

FIGHTINGREFLECTIONSWhenIsetupthisimage,therewasabigreflectionintheglass.NomatterwhereImoved,itwasthere.Itdawnedonmetohavehimopenthedoormore.Bychangingtherelationshipbetweenthereflectiveglassdoorandtheopensky,thereflectionwasgreatlyreduced.Inthiscase,thelightdidn’treallychangeforthesubject’sface,andthebackgroundremainedthesame.Ipressedtheshutterreleaseandrecordedtheimage.

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T59.PIECESOFME

hejoyofphotographingpeopleisgettingtoknowtheirstories.Listentoyoursubjectsandlearnwhotheyare,thenuseeverythingyouknowaboutportraitureto

tellotherstheirstory.

THERIGHTSPACEThistalentedteencametomystudio.Whilelisteningtohim,Irealizedmystudiowasnotthebestplacetotellhisstory.Weneededtobeintheartroom,sothat’swhereweheaded.Luckily,therewerelargewindowsintheroom.Thebottompaneswere7feettall.Abovethemweremorepanesangledin,givingmoreheightandreachintotheroom.Theroomfeltlikeanoldnorthlightstudio—itwasperfect!

Theartisttoldmeabouthiswork,andIchosetwoprojectstoplaywith.TheoldTVwasthefirst.Asshowninthediagrambelow,Ichoseasplitlightpattern.IpositionedthecamerainatrianglepatternasIwouldtocreateaRembrandtlightpattern.However,Ididn’thavethesubjectturnhisheadfullyintothelighttoachievethetriangleoflight.IstoppedhimwhenIsawthesplitlight.Now,theartworkwasevenlylitandhehadgoodshape.Yes,Iwantedtoshowhistalent,buthewastobethefocusoftheimage.

Iusedareflectorforanaccentlight.

Inanotherpartoftheroomtherewasacorkboardwherewecouldhangtheotherproject—alargeartpiecethatneededspace.Thechallengewasthefalloffofthelight.Lookatthe“raw”image(facingpage,top).Seethedifferenceindensityfromthetoptothebottom?Noticethattheteen’sfaceisrightonthatfall-off.Ifheweretotakeasteptohisleft,hisfacewouldbeoutofthelight.Theaccentreflectorwastippedwaybacktocatchthelightnearthefloor.Theaccentonhisfacecamefrombelow.Youcanseeitonhisfaceandbody,butnotthetopofhisshoulderorhishair.Thisisthelimitinthisroomforusingnaturallightforportraitwork.

Thelightcoveredtheartist’sheadintheTVimagebutdidn’tquitereachitinPiecesofMe(facingpage);therefore,hishairisdarkerinthesecondimage.Inpostproduction,Iburnedinthebottomofthesecondimagetomatchthetop,extendedthecorkboard,andaddedaframe.

KNOWYOURLIMITSKnowthedistanceyoucanbefromyourwindowandstillhavegoodlight.Mywindowswereonly7feettallinmyfirststudio.Itwasfineforonepersonorafewiftheywereseatedlowertotheground,butifasubjectgotmorethan10feetaway,theywereoutofthelight.

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E60.GETTINGFANCY

venthefanciestimagesneedagoodbasicfoundation.Thisringstrueinthiscase.Yes,thepostproductionworktookmeoutofmycomfortzone,butIneeded

somethingnewtodrawattentiontomeasanartist.IwantedtotakewhatIwasalreadydoingandaddtoit.ApplyingthebrushesandtechniquesIlearnedfromstudyingWoodyWalters’workwastheanswer.Thesedays,Ithinkofwhatthefinishedworkcouldbe—IlookbeyondwhatIseethroughthecamera.Thefinishedimagemaycontainseveralportraits,andtheremaybeotherelementsinvolved.Eachimageinacompositemustbeabletostandalone.Startwiththegoodportraittechniquesthatyoulearnedinthisbook,thentakeyourworktoanewlevelwithpostproductionpainting.

AGREATRESOURCEDetailingthetechniquesthatIusedtocreatethefinalimageisbeyondthescopeofthisbook.Ifyouareinterested,lookupWoodyWaltersatwww.woodywaltersdigitalphotocandy.com.Youwillfindallkindsofnewtoysforyourtoolbox.

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ICONCLUSION

’msure,afterreadingthisbook,youhavelearnedthatthereisagreatdealtolearnaboutportraiture.Manythingsyouprobablyalreadyknew.HopefullyIsparkedideasto

useoldknowledgeinnewways.Ialsobelievethatyouwillstartlookingforqualitylightareasandgoodbackgroundcombinations.Youwillposepeoplewithinthelighttoformappealingpatternsoflightinalllocationsyouwork.Youwillanticipateanactivitysothatyoucanpositionyourselfinagoodrelationshiptothelightandthebackgroundandwillbeabletopreciselydeterminewherethesubjectwillbeposedinrelationtobothsothatthefinalimageispowerful,withoutexcuses.Youwill,withpractice,becomecomfortablewithfindingandusingnaturallightwhenphotographinganysubject.Usetheconceptsyouhavelearnedinthesepages,andhaveagreattimeplayinginthelight!

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INDEXA

Accentlighting,12,18,25–26,32,53,55,62,65,73,81,83,84,94,96,98,122

AdobePhotoshop,59,84,100,106

Airports,119

Aperture.SeeDepthoffield

Assistants,72,111,113

B

Backgrounds,27,29,32,47,51,52,53,62,64,78,80,81,84,89,106,112,

Backlighting,57

Beachportraits,9,12,54–55,56–57,95,114–15

Billboard,70

Biology,5,

Black&white,79

Brides.SeeWeddings

Broadlight,20,21,22,66,100,115

C

Cameraselection,14

Camerashake,16

Cameraroom,8–9,84

Camerastraps,12

Catchlights,5,6

Clients,repeat,90

Clothing,34,49,51,54,70,76,114

“Cocainelighting,”19,70

Colors,40,44,48,82,94

Composition,40,44,65,66,75,81,82,87,90,92,95,100

Contrast,10,27,98,111,120

CorelPainter,33

Cropping,40

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D

Depth.SeeDimension

Depthoffield,16,36,51,52,87

Dimension,27,34,76,87,116

Doubleaccentlighting,25–26,32,62

Dramaclasses,88

E

Education,5–6

Exposure,10,14–16

Expression,38,40,44,49,64,67,91,97

Eyes,5–6,43,48,58,61,116,118–19

F

Falloff,10,11,122

Familyportraits,87

Fieldofview,36,46,51

Filllight,11,18,20,23,26,30,40,45,49,53,60,62,67,73,81,84,108

Flare,17

Focallength,52,56,89

Flatlighting,26,29

Fresnellenses,11

F-stops,15,36,51,52

G

Gobos,12,19,21,22,34,46,48,69,70,73,75,80,102,108,110,111,112,116,118,120

Graycards,17–18

Greenscreen,28

Grids,11

Groupportraits,11,87,100,106,108

H

Hairlight,62

Highlights,10,15,20,30,65

Histograms,17–18

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Hotspots,29,73

I

Inversesquarelaw,10,11

ISO,14,15,16,56

L

Leadinglines,82,84,92,115

Lensselection,14,16–17,30,36,46,52,56,89

Light,direct,42,82

Light,directional,29,34,62,74,87,113

Lightmeters,15–16,24,33,46

Lightmodifiers,5–6,11,12,13,18–26,30,32,34,36,38,40,42,43,45,49,55,57,60,65,66,69,70,72,73,75,80,81,96,100,102,104,108,110,111,112,115,116,118,119,122

Fresnellenses,11

gobos,12,19,21,22,34,69,73,75,80,102,108,110,111,112,116,118

grids,11

reflectors,12,13,18–19,20,23,24,30,32,36,42,43,45,46,49,58,60,65,66,70,72,81,96,104,108,116,118,119,122

softboxes,11

umbrellas,11

under-reflectors,12,13,19

Lightpatterns,5–6,19–26,38,40,49,55,57,66,100,108,111,115,122

Light,rhythmof,27–28,36,47,51

Light,sizeofsource,10,33,66,103,122

Lighting,subtractive,12,19,21,22,32,34,46,60,69,73,75,80,102,108,110,111,116,118

M

Mood,64

Motion,freezing,15

N

NikSoftware,36,59,96

Northlight,11,60,64,81

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O

Openshade,10,48

Overcastsky,29,34,51,74,110

P

Perspective,38,43,69

Posing,40,49,56–57,65,66,69,75,81,83,87,92,94,97,105,110,116,118

Postproduction,33,36,38,58,59,84,91,96,100,106,122,124

Profilelight,23,33,57,108

Props,43,104

Psychology,5,6,88

R

Railroadtracks,62

RAWfiles,58

Reflections,120

Reflectors,12,13,18–19,20,23,30,32,36,42,43,45,49,60,65,70,72,81,96,104,108,116,118,119,122

Rembrandtlighting,22,40,115,122

S

Safety,62,94

Sales,53

Scheduling,86

Self-assignments,66

Separation,27,36,47,64,81,83,92

Shack,40,118

Shadows,20,21,30,112

Shortlight,20,21,55,100

Shutterspeed,15

Simplicity,36,49,87

Singleaccentlighting,25,55,65

Softboxes,11

Speedlights,11

Splitlight,23–25,38,49,53,55,111,122

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Sports,42–43,81–82,88–89,90–91,96,98

Storytelling,43,76,78,84,96,122

Strobes,5,6,9–10,11,97,111,113

Sunrise,9,54,118

Sunset,9,12,54,86,87

Sweetlight,54–5556–57,86–87,95,112

T

Tattoos,65

Texture,54,76,100

Tonalrange,20,29,32,38,42,54,74,120

Trains,62,66,74,110–11

Trash-the-dresssessions,46,84

Tripods,12,13,54

U

Umbrella,11

Under-reflectors,12,13,19,30

V

Variety,54,66,77,90–91,103

Visualization,60,77

W

Walls,10,19,24,40,45,46,48,49,58,60,65,66,70,72,79,81,84,96,108,118,119,120

asgobos,19,46,48,70,108,118,120

asreflectors,24,45,46,58,65,66,81,119

Walters,Woody,124

Watercoloreffects,100

Weddings,102–3,108

Weight,40

Whitebalance,17–18

Wide-anglelenses,30

Windowlight,10,11,17,20,26,32,33,48,49,76,81,100

Wraparoundlight,10,20,23,91,116

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Z

Zoomlenses,30,46,58

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