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.

Visit to Taylor Wessing Portrait Prize 2011

Favourite Images From the Competition

I recently visited the Taylor Wessing Portrait Prize 2011 at The National Portrait Gallery.  The standard was once again very high.  I have shown below some of my favourite images from the competition this year:

"Kiera Knightley" by Michael Birt.

This is an exceptionally good portrait of this much photographed actress.  I particularly liked the seemingly simple lighting.  It almost looks like light from a window but is probably shot in the studio.  The dark background adds to the classic look of the photograph.

"Tatiana and Belene" by Yann Gross.

This is an interesting image where the llama is the most prominent part of the composition.  The model appears to be wearing products made from the wool of the llama.  This ties the two together.

"Harriet and Gentleman Jack" by Jooney Woodward.

This is a very subtle image where the colours of the girl's hair and the fur of the guinea pig match closely.  It also helps that the girl's finger nails are painted red.  The white coat helps to simplify the image.

"Wen" by Jasper Clarke.

This photograph is a good example of a contextual portrait.  The artist is shown in her studio surrounded by some of her work.  The artist appears relaxed and confident in her surroundings.

"Dolly Parton" by Zed Nelson.

This is an image of the much photographed Country and Western singer Dolly Parton.  The composition places her in an hotel room.  She is surrounded by very feminine furnishings in contrast to her stage clothes.

Photography 1: P & P, Proj 4: An Active Portrait

Project 4: An active portrait

The objective of this exercise was to experiment with taking portraits of a subject when they are distracted by doing something.  I concentrated on the subject rather than what they were doing.  I was interested in the subject's facial expression.  One advantage of photographing someone when they are engaged in doing something and therefore not consciously aware of the camera, is that their facial expression is often more relaxed and "normal".  This type of photography can seem slightly voyeuristic unless the subject is known to the photographer.

I have included a number of images produced by other photographers who have successfully created active portraits.

Amazon-3; Per-Anders Petersson.

In this photograph, taken in the Amazon rainforest, a young woman is busy sweeping her porch.  She is completely engrossed in her work.  The body position of the subject is particularly interesting.

Amazon-4; Per-Anders Petersson.

In this photograph, again taken in the Amazon rainforest, a young woman is trying her hand at tapping a rubber tree for latex under the guidance of a skilled worker.  Her face is animated and interested in the activity.

Amazon-6; Per-Anders Petersson.

Here a group of men are inspecting the rubber sole of a training shoe.  The subjects appear not to notice the camera and are relaxed and interested in what is being discussed.

Nat-Geo-1; Desmond Boylan.

In this photograph a young boy is enjoying an impromptu game using an overflowing gutter.  He is quite relaxed about being photographed because he is enjoying the game.  His pose and facial expression are interesting.

Nat-Geo-5; Erika Larsen

The woman in this photograph is busy processing grass into rope.  She is engrossed in the task in hand.  Her facial expression is particularly appealing.

8082; Nikon D300; 50mm Prime Lens; F1.8; 1/100s

I took this photograph whilst the subject was busy with her mobile phone.  She was only partially aware of the camera's presence.  This has resulted in much more relaxed and natural facial expression.

What have I learned from this exercise?

In order to create a natural portrait of a subject it is sometimes necessary to get them to engage is some form of activity or to explain something in detail.  The subject can become so engrossed in the activity or the explanation that they are less aware of the camera's presence.

Photography 1: P & P, Proj 3: Experimenting with Light

Project 3: Experimenting with light.

Using the same subject throughout and keeping the framing similar, a standard head and shoulders portrait, I took a series of photographs under different lighting conditions.

Initially I looked at other photographer's portrait work under differing lighting conditions.  These are shown below:

Amazon 2; Photographer: Per-Anders Pettersson; Gemma Arterton Visiting The Amazon

Sunrise through the aeroplane window illuminates the subject.  Window light fills the other side of the subject's face.

Amazon 5; Photographer: Per-Anders Pettersson; Rubber Farmer In The Amazon

Dark foliage absorbs much of the light.  The main lighting is from overhead, putting the face of the subject in shadow.  This is made worse by the cap worn by the subject.

Amazon 7; Photographer: Per-Anders Pettersson; Plantation Workers In The Amazon.

The darkness of the hut frames the subjects.  The only light falling on the two subjects is from outside.

Portrait 1; Photographer: Unknown German Photographer; Source: Die Zeit Newspaper

This portrait has attractive, even and natural looking lighting.  Possibly a reflector has been used to the right to illuminate the subject's hair.

Nat Geo 3: Photographer: Erika Larsen; Source: National Geographic Magazine

This portrait has good, even lighting due to the light reflected from the surrounding snow.

Nat Geo 4: Photographer: Erika Larsen; Source: National Geographic Magazine

Again this portrait has good even lighting due to the reflected light from the surrounding snow.  The colours appear vivid against the plain background.

8056; Nikon D300; F11; 1/60s

The lighting used for this photograph was an on-camera flash with a gold reflector below the subject's face to light the shadows.

8057; Nikon D300; F11; 1/60s

The lighting used for this photograph was an on-camera flash with a diffuser, (Gary Fong Light Sphere) without the lid on.  This has resulted in heavy shadows under the eyelids and chin of the subject.

8059; Nikon D300; F5.3; 1/60s

The lighting used for this photograph was an on-camera flash with a diffuser, (Gary Fong Light Sphere) with the lid on.  This has resulted in a better distribution of light but with some shadows under the eyelids and chin of the subject.  The result is a more attractive portrait.

8060; Nikon D300; F8; 1/40s

The lighting used for this photograph was an on-camera flash with a diffuser, (Gary Fong Light Sphere) with the lid on.  In addition a gold reflector was placed below the subject's face.  This has resulted in a much better distribution of light and the avoidance of shadows under the eyelids and chin of the subject.  The result is a much more attractive portrait.

8065; Nikon D300; F8; 1/40s

This photograph was taken using sunlight filtered by a window blind.  A gold reflector was placed below the subject's face.  This combination of lighting has produced a very attractive portrait.

8071; Nikon D300; F11; 1/400s

This photograph was taken outside in bright sunshine.  A gold reflector was placed below the subject's face to reduce the shadows under the chin.  This form of lighting has produced bright, saturated colours but is harsh and not particularly flattering to the female face.

8075; Nikon D300; F11; 1/200s

This photograph was taken outside in bright sunshine but with the sun shining at an oblique angle.  A gold reflector was placed below the subject's face to reduce the shadows under the chin.  This form of lighting has produced a more interesting portrait than the previous photograph.  The lighting is still harsh and not particularly flattering to the female face.

What have I learned from this exercise?

In order to produce an attractive portrait of a female subject, the best form of lighting to use is diffused sunlight as in image 8065.  This could be produced in the studio using a softbox or similar.  Using a gold reflector beneath the subject's face provides a warm light to illuminate the shadows.

Photography 1: P & P, Proj 2 - Thinking About Location

Project 2: Thinking about location.

For this project I played the role of location hunter.  I sought out 6 different settings or backgrounds that could be used effectively for either a whole body or torso portrait.  I took into account the space available for positioning the camera using a longish focal length lens and the lighting.  I looked for tonal and textural simplicity from edge to edge.  I took reference photos of each of the locations without people.  Finally, I chose one of the locations and returned with a portrait subject and photographed them.  The images are shown below:

5763.jpg; F11; 1/350s

5767.jpg; F11; 1/125s

5773.jpg; F11; 1/180s

5776.jpg; F11; 1/350s

5780.jpg; F11; 1/90s

5788.jpg; F13; 1/60s

Below is the final portrait of the subject at the chosen location:

5764.jpg; F11; F1/350s

What have I learned from this project?

It is important when travelling around with a camera to keep an eye open for suitable portrait locations.  When a suitable location is identified a reference photo should be taken and a note made of the location.

Photography 1: P & P, Proj 1 - Portrait, Scale & Setting

Project 1: Portrait, scale and setting.

For this project the objective was to find an interesting and attractive setting.  In the chosen setting I took a series of portraits of a subject.  The first portrait was taken of the subject's face, cropped in close.  The second was of the subject's head and shoulders.  The third was of the torso, taking into account arms and hands.  The final was of the full figure, head to toe.  The resulting images are shown below:

5793.jpg; F13; 1/250s

In this close-up shot of the subject the sun is quite bright and this has caused the eyes to be slightly obscured.  It would be better if the portrait had been taken in more subdued lighting so that the eyes would be more relaxed and more visible.  The photograph was taken using a long focal length lens, (about 90mm) in order to flatten the subject's features.

5794.jpg; F13; 1/250s

This portrait of the head and shoulders of the subject reveals more of the background.  The background is quite plain and therefore does not overwhelm the photograph.  The subject's clothing, such as the scarf are more noticeable in this portrait.

5764.jpg; F11; 1/350s

This portrait of the torso of the subject includes more of the background.  I chose a plain stone wall and distant sea scape as the background because they have little detail to distract the viewer's eye.  I asked the subject to fold their hands together so that they did not catch the viewer's eye.

5854.jpg; F9.5; 1/45s

For this portrait of the full figure of the subject I chose to have the subject seated.  This pose has put more emphasis on the upper part of the body.  The face remains the main focus of the portrait.  The hands are folded as before so they do not catch the viewer's eye.

What have I learned from this project?

When creating a portrait it is best to use subdued lighting where possible so that the eyes can be given more prominence.

Take care to choose a plain background for the composition so that the viewer's eye remains focussed on the subject.