Digital Photography Assignment Portraiture

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1 Digital Photography Assignment Portraiture For this assignment you will shoot a variety of portraits that demonstrate composition, lighting and Photoshop techniques required to produce quality images. In this lesson you will learn: Compositional techniques that lead to a more interesting image. How to expose your image for the greatest impact. Basic Photoshop adjustments that every image requires. How lighting can be used create mood and interest in a portrait. Photoshop technique to create a more dramatic image. Photoshop technique for retouching skin. Photoshop technique for converting a color image to black and white. Alright, here s the truth -- portraiture is the primary source of income for many photographers. No, it s not as exciting as shooting landscapes in exotic locations or standing on the sidelines at an NFL game but it pays the bills and puts food on the table. With that in mind, this assignment will build a basic understanding of what makes a good portrait and how to apply that understanding to your own images. To begin, click this link and follow along: 1. Alter your perspective. Most portraits are taken at eye level with the subject looking directly into the camera. While this works well enough for many subjects, it s not always the most effective approach. Sometimes placing the camera above, below, to the side of or behind your subject, will produce more compelling results and provide a greater level of understanding of your subject. Consider the image of the woman studying.

2 If this image had been shot at eye level much of the most important information would be lost. By placing the camera above the subject, rather than at eye level, the photographer was able to provide greater insight regarding the subject, namely that she is a student who has settled in for a long study session. So, go ahead and shoot your subject traditionally at eye level then change your perspective (above, below, behind, to the side) on your subject. You may find you prefer this perspective to the more traditional eye level approach. 2. Play With Eye Contact. Remember, most portraits are traditionally shot at eye level with the subject looking directly into the camera. When a subject looks at the camera, it implies they are aware of, and have consented to, being photographed. It s an honest approach that tells the viewer that the subject has paused and essentially posed for a portrait. Direct eye contact is preferable in most situations but on occasion, having the subject break eye contact with the camera will make for a better image. When a subject looks off camera, the idea is to create a feeling of mystery and intrigue. At what or at who are they looking and what is happening off camera that we can t see? 3. Break The Rules Of Composition. Sometimes rules are made to be broken. While it is generally preferable to apply Rule of Thirds composition, in some instances you may find that placing your subject in the middle of the frame makes for a more compelling image. And, while it is typically better to give your subject plenty of room to breathe, meaning composing loosely with plenty of space around your subject, there are times when you may find crowding your subject to one side of the frame works better. Compare the two images. One is shot very close, with the subject crowded to the left of the frame; it s still a Rule of Thirds composition but it s not typical. In the second image, the subject is facing off the frame, her body basically filling only the left side of the frame; again, not typical composition.

3 4. Experiment With Lighting. Don t just stand your subject in front of the camera and press the shutter button. Take time to consider composition, background elements and how light impacts your image and lends interest to your subject. In an available light situation, photographers will often choose to let the light fall across the subject s face at an angle; this is called contour lighting. Still, you should always be open to other lighting options that will help you create a better image. Look for light passing through something, like the shadows created by a set of mini-blinds (as in the example presented on the website) or filtered through a canopy of leaves. Other opportunities might be light reflected off an object or surface that makes interesting patterns/shadows or light that is diffused by something, creating soft, directional light. Of course, if you can find the DJ booth at LHS, then by all means knock yourself out with long exposures and crazy light effects. 5. Move Your Subject Out Of Their Comfort Zone. This may be the hardest of the ten to get right but when executed correctly, it can make for impactful images that make a statement about your subject. No, this isn t about asking your subject to jump up and down. It s about taking your subject, in this case a woman in business attire, and having her do something unexpected given what we can determine from the image. So, rather than photograph her in a professional environment, the portrait demonstrates an unexpected, unconventional aspect of her personality. 6. Shoot Candidly. A candid portrait is one in which the subject is unaware, or doesn t care, that they are being photographed. The result should be an image that depicts the subject acting naturally, just as they would if the camera weren t present. In this case, the little girl certainly knows there is someone taking her picture but she is more interested in the toy phone and is going about her playtime as if nothing were out of the ordinary. It is important to note that a candid portrait is not a random snapshot, clicked with no forethought but is rather a fully considered interpretation of the subject acting naturally.

4 7. Introduce A Prop. It s simple really. Introduce an object that adds a graphic or telling element to your image-- something that helps define or lend interest to your subject. Understand that the prop isn t just another element in your image but is rather an element that is integral your image. As an example, someone standing in the hallway holding a camera would not qualify as introducing a prop because the camera is incidental to the image. However, someone holding a camera in front of one eye with a photo of the covered eye visible in the camera back display would certainly fit the bill. Let your imagination run wild but understand that the example presented here will not be accepted. 8. Focus On A Body Part. There are times when an image of your subject s hands, work boots or glasses may provide greater insight into your subject than a typical head and shoulders portrait. When focusing on a body part, compose your image in a way that emphasizes detail and yet includes enough of your subject for the viewer to understand the connection. Rough hands and a ragged work shirt let the viewer know your subject works hard for a living. This is not intended to be a study of your subject s eyeball, ear lobe or toenails but rather an alternative method of portraiture where the image allows the viewer draw conclusions about the subject through the information presented in the image. 9. Obscure Part Of Your Subject. Take a look at the image presented here. What s it about? If you answered the blue scarf, go to the back of the line! It s about the eyes, the scarf is only a tool to isolate and emphasize the eyes. That the scarf color matches the eye color is bonus points, nice but not required. Now that you ve seen this image, go make your own unique version. Try using a book, a wall, a hand or another person to obscure part of your subject; the options are limitless.

5 10. Take A Series Of Photos. This one is the easiest of the ten but requires a little more effort to complete. Have your subject pose in several different positions or set your camera to continuous shooting mode (yes, there s a setting for that, ask your teacher) and let your subject go through a range of movements. Once you ve got at least three good images for your series you will assemble them side by side using the same method you used for the Five Changes assignment. If you ve forgotten how you did it, please review with this video from the Five Changes assignment: The Assignment Now that you ve familiarized yourself with these ten portrait styles, choose your favorite five styles and produce two completely different versions of each. Remember, EVERY digital image needs work to reach its potential. The expectations for every assignment from this point on are images that have been thoughtfully composed with consideration given to lighting conditions, correctly exposed, cropped as needed and corrected for color and contrast. If you ve forgotten how to make basic adjustments to your images, this link will provide you with a refresher tutorial on Basic Adjustments in Photoshop: A Few Things To Consider Your job as a portrait photographer is to make your subject look their best. To that end, you will need to consider your location very carefully before you press the shutter release. There are any number of good portrait locations on campus and, just as surely, there are any number of poor locations. Great attention should be paid to the lighting (does it flatter the subject? Is there enough to make a correct exposure?) and background (are there distracting elements that can be eliminated through composition or depth of field?) If the answer to either of these questions is no, you d be wise to find another location.

6 One thing to be avoided at all costs is execution style portraiture, or simply stated, standing your subject in front of a brick wall and shooting away. There is no faster way to receive a failing grade than turning in portraits that are poorly composed, exposed, focused, corrected or posed against a brick wall. Another thing to take into consideration is the focal length, or the amount of zoom, used when you make an image. Lens selections with a wide field of view (zoomed all the way out) will distort your subject while lens selections with a narrow field of view (zoomed all the way in) will generally be more flattering to your subject. Knowing this, take the time to experiment with the lens selections available to you through the zoom range of your camera. If you want your subject to have a goofy, big-head look, try zooming all that way out and moving the camera as close to your subject as possible and take note of the effect a wide field of view lens selection has on your subject. Once you ve got that out of your system, back away from your subject, zoom in and make a more flattering portrait of your subject. Your subject, and your grade, will thank you. Lastly, once you have completed all the above steps, save your work according to the How To Save And Submit Your Work document. It is important that you follow the instructions in this document to the letter if you hope to have success with this assignment. It is important to remember that this is an artistic assignment and the final product should reflect a significant level of creativity if you hope to achieve the highest possible grade.

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