Photography 1: P & P, Proj 8: Varying Pose

Project 8: Varying pose

Prior to completing this exercise I researched the poses used in magazines that featured pictures of people.  I noted the variety of poses that are used.

I set up a portrait session and planned for the subject to adopt different positions.  The positions chosen were sitting/kneeling, standing and squatting.  Within these positions I suggested different limb positions to the subject.  Some limb positions were more effective and attractive than others.

The best of the images from the shoot are shown below:



Sitting/Kneeling

8190; F2.8; 1/125s; F75mm (prime)

8251; F2.8; 1/125s; F75mm (prime)

8261; F2.8; 1/125s; F75mm (prime)

Standing

8200; F2.8; 1/100s; F75mm (prime)

8201; F2.8; 1/100s; F75mm (prime)

8215; F2.8; 1/250s; F75mm (prime)

8242; F2.8; 1/100s; F75mm (prime)

Squatting

8232; F2.8; 1/160s; F75mm (prime)

What have I learned from this exercise?
When creating images it is important to experiment with lots of different limb positions.  In these images the diagonal angles of the arms and legs have added a element of movement to the images.  This has produced attractive portraits of the subject.

Photography 1: P & P, Proj 7: Focal Length & Character

Project 7: Focal length and character

For this exercise I made exactly the same framing on a face with different focal lengths.  I used three focal lengths: 24mm, 75mm and 158mm.  I moved the camera toward and away from the subject to keep the framing consistent.  A gold reflector was held below the subject to reflect light into the shadow areas of the face.  I then examined the results of the shoot and noted the differences between the portraits in terms of how attractive or acceptable I thought the results looked.

The minimum amount of space between a lens and subject should be around 2 metres.  A focal length of approx. 80mm to 120mm (full frame SLR equivalent) is best.  A wider lens will exaggerate the apparent size of the nose and the front part of the face.

The images produced are shown below:

8181; 24mm focal length; F5.6; 1/40s

In this portrait the nose and front part of the face is too pronounced.  This is not a flattering portrait of the subject.

8183; 75mm focal length; F5.6; 1/40s

The parts of the face in this portrait are well proportioned.  There is a flattering balance to the subject's features.  This is the best focal length of the 3 for portrait use.

8186; 158mm focal length; F5.6; 1/30s

The features in this portrait are flatter than the previous.  The portrait is less flattering than that produced using a focal length of 75mm.  However the result is acceptable.

What have I learned from this exercise?

Generally speaking, the longer the lens the more flattering a close-up portrait becomes.  A silver or gold reflector held below the face adds a sparkle to the subject's eyes.

Most people look better in black and white than they do in colour.  They seem to carry a greater authority and strength, especially for male portraits.

A black and white portrait will remove distractions from the face.

Photography 1: P & P, Proj 6: The Best of a Sequence

Project 6: The best of a sequence.

For this project I set up a portrait session in a formal structured way to give a consistent setting and framing.  The only variables between the series of pictures was the expressions and gestures of the subject.  The subject changed clothes part way through to add variety.  The lighting was changed slightly during the shoot by using a silver, gold or white reflector.

I concentrated on the person's expression as the main element of the photographs.  I assessed it from frame to frame in order to select the best of the sequence.  This on-the-spot assessment helped to direct my subject and the moment I chose to make each exposure.

Immediately after the shooting, I wrote down the frame by frame progress of my subject's expression, noting which I felt at the time were the best.  I took a total of 34 images.  I then stopped as I ran out of ideas for poses/expressions.

I then opened the sequence of images in a browser and reviewed the images a second time.  I rated them as a) not good, b) acceptable, c) good and d) the best single shot, according to my judgement.  This later review differed from the way I saw it at the time in that slight differences in lighting could by discerned better when viewed in the browser.  I downgraded some images to acceptable rather than good when viewed again.

The two images rated as good are shown below:

8154; F5.6; 1/30s; "Good"

8176; F5.6; 1/40s; "Good"

The image that I judged to be the best single shot is shown below:

8168; F5.6; 1/40s; "Best Single Shot".

What have I learned from this exercise?

When setting out to create a portrait it is worthwhile taking a large number of images in order to explore all the possibilities and fine nuances of expression.  It is best to assess the person's expression (and gesture or pose if they vary), from frame to frame.  This on-the-spot assessment will affect the photography in the way you talk to and direct your subject, and in the moments you choose to make each exposure.  It will also affect the way you review and edit the sequence of images later, on the computer.

Photography 1: P & P, Proj 5: Eye-contact and Expression

Project 5: Eye-contact and Expression.

For this exercise I photographed the subject using a simple head and shoulders composition against a plain background.  No clothes are visible in the images.  This is to avoid the viewer's gaze being distracted from the subject.  For lighting I used an on-camera flash with a Gary Fong Light Sphere attached, (with cap removed).

Full-Face-1; Nikon D300; 50mm Primary Lens (75mm equiv.); F5.6; 1/60s

The general composition of this photograph is satisfactory although somewhat static, with the subject placed centrally.  I could have asked the subject to remove her earrings to further simplify the image.  However, I feel that they are part of the subject's public face, so I have left them in.  The lighting balance is about right due to the use of the light sphere on the flash.  This diffuser gives an even all-over lighting effect.  The subject is looking straight towards the camera with her head in a relaxed position.  The subject has a passive facial expression.  The subject's body language communicates that she is relaxed and at ease in the photographer's company.

Up-And-Away-1; Nikon D300; 50mm Primary Lens (75mm equiv.); F5.6; 1/60s

The general composition of this photograph is more interesting.  The subject is placed slightly off centre with her gaze away from the camera and up to her right.  The coloured background has worked better.  The subject is more differentiated from the background.  Once again the use of the light sphere on the flash has given an even lighting effect with few shadows.  The subject's head is at an interesting angle, tilted up towards the upper left of the frame.  The subject has an "interested" facial expression that is more attractive than that in the previous image.  The subject's body language communicates alertness, which makes for a more interesting portrait.

What have I learned from this project?

The background of a portrait is at least as important as the subject.  An unfussy background can isolate the subject and encourage the viewer to focus on the person in the portrait.  A coloured background helps to make the subject stand out.  Ideally, the colour should be different enough and possibly complimentary.  Sometimes a portrait will work better when the subject is not facing directly at the camera.  This can result in a more relaxed image of a non-professional model.