تويت
الأساليب المهنية ..
تجربة الأنماط ..
كتاب التصوير الفوتوغرافي
The professional's methods
Photography is an ideal medium for recording the elusive gesture or smile which reveals the essence of a personality . But this does not mean that anyone with a camera can take a good portrait . One way of understanding port raiture better is to study and practice the methods of the masters as a starting point for developing your own techniques .
The main aim at the start of a session is to get the sitter to relax and reveal his or her " real " face , not the " artificial " one put on for the outside world . The approach of the masters of the medium varies greatly . Bill Brandt , for example , believes in leaving his sitters alone , and not talking to them much , if at all . The idea is that they eventually get bored , forget the photographer's presence and become them selves . Others like Yousuf Karsh take the oppo site view . He conducts a lively conversation so that his sitters cannot become bored .
However , even when they relax , most people manage to hold back quite a lot . For this reason some portraitists devise special methods to force their sitters to drop the mask . Philippe Halsman made his sitters jump - his theory was that you cannot possibly control your features while airborne . Irving Penn , on the other hand , placed boxes in an empty studio , and asked his sitters to pose on them , so that they revealed themselves by the posture they chose .
Portrait in the style of Richard Avedon Avedon usually confronts . his subjects with a large view camera - often 8 × 10 ins ( 20 × 25 cm ) . His personal technique involves using soft , diffused lighting and underexposing then overdeveloping Tri - X film to boost contrast . Here , I gave one stop underexposure and increased the development time by one third . The result is a very strong . textural image with every pore and wrinkle standing out . De Vere 5 × 4 , 150 mm . 1/30 sec at f32 , Tri - X .
Imitating the style of Philippe Halsman A Presidents , princes and famous actresses jumped for Halsman . Sometimes he shot his subjects in his studio against a white background , as here , but often he made them jump just anywhere . He used strong flash lighting and a Polaroid camera . Here , I used two flash heads , one on either side of the subject . Pentax 6x7 , 55 mm , 1/30 sec at f16 , Tri - X .
Portrait in the manner of Bill Brandt D Every image Brandt produces is different . tailored to the requirements of the individual sitter . But many show a personal preference for a dramatic low key effect . Usually he takes his sitter to a carefully selected spot which he feels suits the subject's character . He mainly uses a 24 square camera and existing light . He often improves or alters his originals by skilful print manipulation . Mamiyaflex C3 , 65 mm , 1/30 sec at f16 , Tri - X .
Portrait in the manner of Arnold Newman All Newman's portraits are easily distinguished by their immaculate composition . Most use a dynamic arrangement ( see p . 24 ) , with the sitter in an off - center position . Despite the fact that he often uses large format view cameras . his pictures are quite natural and his sitters hardly ever seem stiff . He often plans his pictures meticulously beforehand . Apart from a view camera , he also uses 21 square and 35 mm cameras and additional lighting . Pentax 6x7 , 55 mm . 1/30 sec at f16 , Ektachrome 200 .
Portrait in the manner of Yousuf Karsh A Karsh is a great traditional portraitist , and every portrait from his studio is technically immaculate . He mainly uses large format view cameras and powerful lighting , see diagram above . He employs a skilful retoucher to remove any flaws . De Vere 5 × 4 , 300 mm , 1/8 sec at f32 , Ektachrome 160 .
Portrait in the style of Irving Penn ▷ One of Penn's devices to make his sitters reveal themselves was a narrowly angled corner - about 60 ° - into which they had to squeeze . Penn is also a great believer in north light . In fact , he even constructed a travelling tent - studio which used only this light . Here , I used a soft top skylight as a " poor man's " north light . Pentax 6x7 , 55 mm , 1/15 sec at f22 , Tri - X .
تجربة الأنماط ..
كتاب التصوير الفوتوغرافي
The professional's methods
Photography is an ideal medium for recording the elusive gesture or smile which reveals the essence of a personality . But this does not mean that anyone with a camera can take a good portrait . One way of understanding port raiture better is to study and practice the methods of the masters as a starting point for developing your own techniques .
The main aim at the start of a session is to get the sitter to relax and reveal his or her " real " face , not the " artificial " one put on for the outside world . The approach of the masters of the medium varies greatly . Bill Brandt , for example , believes in leaving his sitters alone , and not talking to them much , if at all . The idea is that they eventually get bored , forget the photographer's presence and become them selves . Others like Yousuf Karsh take the oppo site view . He conducts a lively conversation so that his sitters cannot become bored .
However , even when they relax , most people manage to hold back quite a lot . For this reason some portraitists devise special methods to force their sitters to drop the mask . Philippe Halsman made his sitters jump - his theory was that you cannot possibly control your features while airborne . Irving Penn , on the other hand , placed boxes in an empty studio , and asked his sitters to pose on them , so that they revealed themselves by the posture they chose .
Portrait in the style of Richard Avedon Avedon usually confronts . his subjects with a large view camera - often 8 × 10 ins ( 20 × 25 cm ) . His personal technique involves using soft , diffused lighting and underexposing then overdeveloping Tri - X film to boost contrast . Here , I gave one stop underexposure and increased the development time by one third . The result is a very strong . textural image with every pore and wrinkle standing out . De Vere 5 × 4 , 150 mm . 1/30 sec at f32 , Tri - X .
Imitating the style of Philippe Halsman A Presidents , princes and famous actresses jumped for Halsman . Sometimes he shot his subjects in his studio against a white background , as here , but often he made them jump just anywhere . He used strong flash lighting and a Polaroid camera . Here , I used two flash heads , one on either side of the subject . Pentax 6x7 , 55 mm , 1/30 sec at f16 , Tri - X .
Portrait in the manner of Bill Brandt D Every image Brandt produces is different . tailored to the requirements of the individual sitter . But many show a personal preference for a dramatic low key effect . Usually he takes his sitter to a carefully selected spot which he feels suits the subject's character . He mainly uses a 24 square camera and existing light . He often improves or alters his originals by skilful print manipulation . Mamiyaflex C3 , 65 mm , 1/30 sec at f16 , Tri - X .
Portrait in the manner of Arnold Newman All Newman's portraits are easily distinguished by their immaculate composition . Most use a dynamic arrangement ( see p . 24 ) , with the sitter in an off - center position . Despite the fact that he often uses large format view cameras . his pictures are quite natural and his sitters hardly ever seem stiff . He often plans his pictures meticulously beforehand . Apart from a view camera , he also uses 21 square and 35 mm cameras and additional lighting . Pentax 6x7 , 55 mm . 1/30 sec at f16 , Ektachrome 200 .
Portrait in the manner of Yousuf Karsh A Karsh is a great traditional portraitist , and every portrait from his studio is technically immaculate . He mainly uses large format view cameras and powerful lighting , see diagram above . He employs a skilful retoucher to remove any flaws . De Vere 5 × 4 , 300 mm , 1/8 sec at f32 , Ektachrome 160 .
Portrait in the style of Irving Penn ▷ One of Penn's devices to make his sitters reveal themselves was a narrowly angled corner - about 60 ° - into which they had to squeeze . Penn is also a great believer in north light . In fact , he even constructed a travelling tent - studio which used only this light . Here , I used a soft top skylight as a " poor man's " north light . Pentax 6x7 , 55 mm , 1/15 sec at f22 , Tri - X .
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