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تنظيم جلسة ..
الملحق ..
كتاب التصوير الفوتوغرافي
Organizing a session
For the portrait photographer every session is different . Each sitter is an individual and so every shooting session will require a specially adapted approach Although some advance planning is a good idea , it is often impossible to predict the best way to portray the subject and detailed planning can turn out to have been a waste of time . During a recent session for Fortune Magazine it was intended to include one shot of the sub ject jogging , one featuring his car , and another showing him exercising a dog . All these were flatly refused , and it was essen tial to think up new ideas on the spot .
Broadly speaking , there are two types of portrait session . The first is intended to show a personality someone photo graphed to convey his or her character . The second is a session with a model arranged specifically for his or her external appearance . Both types may take place either on location or in a studio .
meet him or her before making a commit ment . You can then take the opportunity to discuss clothes , props , and the time required for the session . You can also give the model an idea of the type of pictures you intend to take .
Always start with simple poses , giving positive encouragement as often as pos sible . Harsh criticism will not make a poor model any better . While shooting you should always make conscious regular checks on exposure readings and camera settings . It is also essential to make regular adjustments to lighting , especially if the model is changing poses continuously , and to watch the frame for stray shadows and unwanted highlights .
Photographing a personality
If you are commissioned to take a por trait it is best to try to arrange a brief meeting with the subject a day or two before the session . Such a meeting will enable you to find out about the sitter's personality . You can also inspect the environment , establishing the quality of the light , and finding out how many electrical connections are available .
You will now be able to plan your session in more specific terms . You can imagine your basic approach and decide what equipment you will require , and what lighting and film will be most suitable . In addition , this preliminary meeting will allow you to find out your subject's personal interests , so that you will be able to make conversation during shooting , putting the sitter at ease . You can also decide how you want the subject to dress , and make it clear if you want to use props suggesting the subject's back ground or work .
Photographing a model
With a model the procedure is different - although it is still a good idea to meet the sitter beforehand . When booking a model through an agency , you may want to meet him or her before making a commit ment . You can then take the opportunity to discuss clothes , props , and the time required for the session . You can also give the model an idea of the type of pictures you intend to take .
Always start with simple poses , giving positive encouragement as often as pos sible . Harsh criticism will not make a poor model any better . While shooting you should always make conscious , regular checks on exposure readings and camera settings . It is also essential to make regular adjustments to lighting , especially if the model is changing poses continuously , and to watch the frame for stray shadows and unwanted highlights .
A typical studio shot
The model sat at one end of a table , with the candles placed at the other end . I used a long focus lens to get the right proportions and perspective . Another advantage of this lens was that its narrow depth of field made it possible to separate the model and candles by means of selective focus . For details . on how I planned this shot , see facing page .
The session in progress ▷ We used tungsten lighting for the picture of the model on the facing page . A Lowel soft - light and a studio floodlight provided . the main illumination , and a snooted spotlight on the model's right gave additional directional illumination . ( The studio flash units on the left - hand side of the picture were not in use . ) We positioned . large reflector screens on either side of the model , who sits in front of a large roll of background paper . Taking advantage of the studio's length , it was possible to use the Pentax 6x7 with a long focus lens . By working together , it was possible for one person to make adjustments to the lighting , while the other could observe the effect from the camera position .
الملحق ..
كتاب التصوير الفوتوغرافي
Organizing a session
For the portrait photographer every session is different . Each sitter is an individual and so every shooting session will require a specially adapted approach Although some advance planning is a good idea , it is often impossible to predict the best way to portray the subject and detailed planning can turn out to have been a waste of time . During a recent session for Fortune Magazine it was intended to include one shot of the sub ject jogging , one featuring his car , and another showing him exercising a dog . All these were flatly refused , and it was essen tial to think up new ideas on the spot .
Broadly speaking , there are two types of portrait session . The first is intended to show a personality someone photo graphed to convey his or her character . The second is a session with a model arranged specifically for his or her external appearance . Both types may take place either on location or in a studio .
meet him or her before making a commit ment . You can then take the opportunity to discuss clothes , props , and the time required for the session . You can also give the model an idea of the type of pictures you intend to take .
Always start with simple poses , giving positive encouragement as often as pos sible . Harsh criticism will not make a poor model any better . While shooting you should always make conscious regular checks on exposure readings and camera settings . It is also essential to make regular adjustments to lighting , especially if the model is changing poses continuously , and to watch the frame for stray shadows and unwanted highlights .
Photographing a personality
If you are commissioned to take a por trait it is best to try to arrange a brief meeting with the subject a day or two before the session . Such a meeting will enable you to find out about the sitter's personality . You can also inspect the environment , establishing the quality of the light , and finding out how many electrical connections are available .
You will now be able to plan your session in more specific terms . You can imagine your basic approach and decide what equipment you will require , and what lighting and film will be most suitable . In addition , this preliminary meeting will allow you to find out your subject's personal interests , so that you will be able to make conversation during shooting , putting the sitter at ease . You can also decide how you want the subject to dress , and make it clear if you want to use props suggesting the subject's back ground or work .
Photographing a model
With a model the procedure is different - although it is still a good idea to meet the sitter beforehand . When booking a model through an agency , you may want to meet him or her before making a commit ment . You can then take the opportunity to discuss clothes , props , and the time required for the session . You can also give the model an idea of the type of pictures you intend to take .
Always start with simple poses , giving positive encouragement as often as pos sible . Harsh criticism will not make a poor model any better . While shooting you should always make conscious , regular checks on exposure readings and camera settings . It is also essential to make regular adjustments to lighting , especially if the model is changing poses continuously , and to watch the frame for stray shadows and unwanted highlights .
A typical studio shot
The model sat at one end of a table , with the candles placed at the other end . I used a long focus lens to get the right proportions and perspective . Another advantage of this lens was that its narrow depth of field made it possible to separate the model and candles by means of selective focus . For details . on how I planned this shot , see facing page .
The session in progress ▷ We used tungsten lighting for the picture of the model on the facing page . A Lowel soft - light and a studio floodlight provided . the main illumination , and a snooted spotlight on the model's right gave additional directional illumination . ( The studio flash units on the left - hand side of the picture were not in use . ) We positioned . large reflector screens on either side of the model , who sits in front of a large roll of background paper . Taking advantage of the studio's length , it was possible to use the Pentax 6x7 with a long focus lens . By working together , it was possible for one person to make adjustments to the lighting , while the other could observe the effect from the camera position .
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