Textures and Portaits

Following my portrait session in the studio I have selected images that I want to work on further.  I have spent some time applying different finishes and have decided to go with the overall theme of textured images.  I prefer a more painterly finish than the usual glossy or matt studio portrait and find using pre-maid textures, collected from the internet, gives me the look of a painting without having to invest in paints, brushes etc.

I have taken several screen grabs to illustrate the process,  this first, is the original raw files opened in 'Bridge'

After deciding which file to use, I then open up into Adobe Raw..............

where I can use the histogram to check for any clipping warnings, ie under or overexposure,  these can be corrected by using 'fill light' or 'recovery', I can also play with 'white balance' to see what effect cloudy, shade, or tungsten have on the look of the shot, or increase contrast, clarity, vibrance etc., without damaging the raw file, clicking twice on a slider brings you back to the original setting.

It is all personal preference really, and how your eye sees the picture, there are no pre set instructions as to how it should turn out, only that I would like to produce something original and pleasing to the sitter and anyone else who views the final image.

Since these shots were taken in the studio, using aperture priority, and evaluative metering, no clipping warning were present, I did not want to increase brightness or clarity because of the nature of the shots and so opened into 'photoshop' without making any adjustments.

I intend using pre-made textures on my images and have taken a sceen shot of some of them opened in a file, they are j.peg images collected from the internet.

However, before I apply a texture I make any initial adjustments needed on the file.

Since his eyes looked a little dark, after copying my background layer I used dodge and burn to lighten around the outside of his pupil and burn to darken around the edge.  This just gives a little more emphasis to his eyes without making the colour look false.

I converted the file to black and white to see how this looked then applied a red filter to brighten his skin changing the blending mode to soft light.

I chose a number of layers from my pre-made file, changing the blending mode to see what gave a nice effect and using the preview button to turn on and off different layers and the slider to adjust opacity.  I can also use the brush tool to clean away some texture from his skin.

This shot shows a texture being slid into place over the original file.

Here it is sitting on top of the image file, before  using free transform to stretch and fit the layer over my image and changing the blending mode and opacity as needed.

This shows a large brush being used to clean texture away from his skin.

In the final image I have picked a pink colour and soft brush to add pink tones back into his skin.

Here is the final image fully textured and ready to print, I decided to leave a small amount of texture on his skin since it gives the image a slightly grainy finish which I like, however,  again this is personal preference.

1st Studio Portrait Session

Since I have decided to go with mainly head shots using shallow depth of field, we set us the continuous lighting equipment in the studio.

These consist of three cold lamps inside and umbrella, with a white screen over the front to soften and evenly spread the light, one on each side of the model.  These are very portable and can be moved up and down the stand or around the studio to vary lighting angles.  There are no hot lamps or flash to startle the model and are therefore very easy and simple to use.  From a health and safety point of view they are excellent, since with young children in the studio there is no fear of contact with a hot surface.

After going through the usual health and safety issues to beware of trailing cables as slip and trip hazards, making sure all electric equipment is compliant with current regulations and pointing out fire exits, I talked through the type of shots and poses I was trying to get, with my models, and showed them examples on my blog.

Since I have a 1.8, 85mm, usm lens, I decided to initially hand hold the camera for freedom of movement.  I also borrowed a 50mm lens from the college to compare the quality of shots achieved.

Here are a few initial examples of the shoot.

For the shoot with his father I moved one of the lights so that his side face was more shaded to give a moodier look, I tried with shallow dof at 1.8 but also at 4.5, after mounting the camera on the stand, so that all of his features are in focus.

By the end of the shoot, Jonathan was getting restless and found it difficult to stand still, I might try to blend these two images since I find the last one quite a fun shot.

On the whole I am satisfied with my first studio shoot, I got the type of images I set out to achieve and can use some of these in my assignment.

I am now looking forward to my next session in the studio.

Statement of intent ~ Assgmt 306 ~ Studio Photography

Intentions/purpose

For this project I intend to produce a minimum of 10 studio portraits.  These will form a portfolio which can be used to illustrate my skills as a portrait photogapher and will offer a number of finishes available from high and low key to textured images and selective colouring.   I can use these in printed form to advertise in magazines, newspapers, or on social network sites as well as my own website to help build a customer base.

Reasons for selection of the theme

I have been influenced by contemporary photographers using photo-sharing websites such as Flickr as well as collegues on the Level 4 course.

Flickr contact - Tracy Taylor

My influences also come from cinematic photography, fashion as well as artists using media other than photography such as Degas, Rembrandt and Vermeer.

Degas

Rembrandt

Vermeer

Vermeer

Choosing studio portraiture has allowed me to draw all these influences together to form my own style of work.

Equipment and medium to be used

This will be my first foray into the studio, however, I will be using equipment which is familiar to me, my Canon 5D Mk2.  I have completed some research into lenses and will use a 50mm F1.8 and 85mm F1.8.   . These should allow me to get in close to take head and shoulder shots without having to lose  most of the shot in cropping.  I will also use continuous lighting since these would appear to be safer since they do not heat up with use and will allow a soft even light so I can use a shallow depth of field and focus on the eyes.

Techniques to be used/conveying the visual message

To create a dreamy and romantic feel a shallow depth of field can be used, F2.5, to soften features, with focus directed  at the eyes in head and shoulder shots.  This technique is generally more flattering to the sitter and will produce a more painterly portrait.

The Canon 5D has a portrait menu setting which slightly softens the shot and I can use aperture priority to control depth of field.

Textures will be added in post processing to add to the painterly feeling and give depth and expression to the portraits.

Controlling light quality

Continuous lighting will be used in the studio.  This is as near to ambient light as a studio will allow so that a large aperture can be used for shallow dof for a dreamy portrait as opposed to studio flash which pushes out alot of light, for use with a narrow aperture and large dof.  The light is usually mounted on a boom arm for positioning over the model with a reflector placed below to counteract any shadows and give the face a soft glow.

Risk and health and safety considerations

Since I intend to photography young children as well as adults, the children will not be invited into the studio without a chaperone, preferably a parent or guardian and this adult will be in sight of the child at all times.

On arrival at the studio, I will verbally go through the health and safety policy and point out the necessary fire exits and printed notices with safety procedures, as well as requesting that the children, when not being photographed, stay in the designated area which is free from hazards.  I will advise that food and drink is not allowed in the studio and visitiors should be aware of trip hazards such as cables, lights and booms.  I will be using continuous lighting which does not get hot and will not be using studio flash, but I will advise that these are not touched or interfered with in any way, and plugs should not be touched.

We will take regular breaks so that models are not fatigued, away from the studio.

Shallow DOF portraits in the studio ~ Continuous Lighting

Portrait Session - equipment

For my planned session in the studio I will be using Canon 5D MK2 but I have not yet decided on a lens.

I have available 24-70mm and a 50mm macro and have used both to take portraits in the field.  I also have available, through the college, a 50mm prime lens which I am assured will do the job.  However, after reading various magazine articles and books most seem to recommend 85mm.

HERE IS WHAT CANON SAY ABOUT THEIR 85MM F1.8 USM LENS

A short telephoto focal length, combined with a large maximum aperture and fast autofocus speed, make the EF 85mm f/1.8 USM an ideal optic for any photographer shooting portraiture.

Features

Fast f/1.8 aperture Short/medium telephoto lens USM focus motor with full-time manual focus 85cm closest focusing distance 58mm filter size Super Spectra coatings reduce ghosting and flare

A very popular short telephoto lens with portrait photographers.

A practical and portability telephoto lens The EF 85mm f/1.8 USM produces images that are sharp and clear at all apertures. A virtually circular aperture diaphragm gives out-of-focus regions a softer, more even feel, and lets in-focus subjects stand out against a blurred background. The lens features a non-rotating front element during focusing, enabling specialist filters (such as polarisers and graduates) to be used. Large f/1.8 aperture A large maximum aperture of f/1.8 lets photographers shoot hand-held in difficult, low-light conditions, as well as restrict depth-of-field for creative effects. Compressed perspective in portraiture The short telephoto focal length of the lens slightly compresses perspective, reducing the size of prominent facial features for a flattering result. Ultrasonic focusing A ring-type ultrasonic motor drives autofocus extremely quickly, and in near silence. Excellent holding torque ensures the point of focus is reached accurately, without overshooting. Furthermore, full-time manual override is available, making it possible to adjust focus without leaving AF mode. Super Spectra coating Super Spectra coatings ensure accurate colour balance and enhance contrast. They also reduce flare and ghosting – a common problem caused by light bouncing off a camera's sensor. Integration with E-TTL II flash metering The lens passes distance information back to a compatible EOS camera's E-TTL II flash system to ensure optimal flash metering."

AND ITS SIMILARLY PRICED 50MM F1.4 USM With its fast maximum aperture and rapid focusing system, the compact, high performance EF 50mm f/1.4 USM standard lens can be relied on for superb performance in any field of photography. Features Fast f/1.4 aperture Standard 46° angle of view USM focus motor with full-time manual focus override 45cm closest focusing distance Aspherical lens element 58mm filter size The ultimate mixture of versatility and image quality. Versatile, compact standard-lens design Gaussian optics, combined with two high-refraction lens elements allow photographers working in all fields to capture crisp, clean images, even wide open at f/1.4. The lens is ideal for photographing landscapes and travel scenes as well as portraits and reportage. Ultrasonic focusing A ultrasonic motor drives autofocus extremely quickly, and in near silence. Excellent holding torque ensures the point of focus is reached accurately, without overshooting. Furthermore, full-time manual override is available, making it possible to adjust focus without leaving AF mode. Smooth background blur A virtually circular aperture diaphragm gives out of focus regions a softer, more uniform feel. Sharp foreground objects stand out against a smooth blurred background. Super Spectra coating Super Spectra coatings ensure accurate colour balance and enhance contrast. They also reduce flare and ghosting – a common problem caused by light bouncing off a camera's sensor. They would seem to recommend the 50mm more as a general purpose lens whereas the 85mm is specifically recommended for portraiture.

Portait Session

I have a male model (my son in law), coming into the studio next week and need to plan how I would like him to pose and what type of lighting and what lens to use.

Following earlier research I find that I am most interested in head shots and for the model  I have, low key lighting will give the character and moodiness I want to create.

Here are some portraits taken by David Bailey  in the 60's and 70's featuring famous people of the day, using the type of lighting I have in mind.

Terence Stamp

A somewhat more recent portrait of a very young Jonny Depp

Catherine Denueve

Pablo Picasso

David Bailey

On these portraits he has used a combination of 'broad', the side of the face nearest to the camera is lit and the nose casts a shadow of the short side cheek, and 'split lighting', where half of the face is illuminated and the main light is placed to the left or right of the sitter.

Lighting for Portraits

1. Broad Lighting

   • In portrait photography, broad lighting refers to a technique that corrects facial flaws by deemphasizing features. In broad lighting, the main light showcases the facial features that are turned toward the camera. This technique is most commonly used to make a narrow face appear wider. Typically, the nose faces away from the light source, casting a shadow on the short side of the face (the side that is less visible to the camera) rather than the broad side.

   Short Lighting

   • When the person photographed has a round face, use short or narrow lighting to make it appear more slender. Often used in low-key portraiture, the main light enhances the side of the face that is farther from the camera. Short lighting also suits photographers who wish to emphasize the curves of the subject's face.

   Rembrandt Lighting

   • Named after the painter, Rembrandt lighting is a type of short lighting that mimics the painter's way of creating light and shadow when painting portraits. In this case, the subject's nose casts a shadow on the broader side of the subject's face. The shadow cast by the nose joins the shadow on the cheek to create a triangle-shaped spot of illumination.

   Butterfly Lighting

   • Use butterfly lighting to create a glamorous effect when photographing women. The main light illuminates the subject's entire face, casting a shadow below the chin that is parallel to the subject's nose. Often used when photographing subjects with oval-shaped faces, butterfly lighting emphasizes the ears.

   Split Lighting

   • Use split lighting to highlight half of the subject's face. Typically used in broad, short and Rembrandt lighting, split lighting requires that the main light sit to the far right or left of the person being photographed.