ESSENTIAL

ELEMENTS
of
PORTRAIT
PHOTOGRAPHY
Lighting and Posing Techniques to Make
Everyone Look Their Best

Bill Israelson
Amherst Media, Inc. Buffalo, NY
 Dedication
This book is dedicated to my loving family—my wife Katherine
and beloved sons Christopher, Jeffrey, and Steven.

Acknowledgments
I wish to thank all those who appear in this book. Without you,
the book would be far less interesting! A sincere thank you also
goes out to my wife Katherine, who supported the development
of this book by coordinating the logistics and administration
of the photographic shoots. I am grateful for her never-ending
patience.
The “Three Amigos,” circa 1994.

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Copyright © 2015 by Bill Israelson.
All rights reserved.
All photographs by the author unless otherwise noted.

Published by:
Amherst Media, Inc.
P.O. Box 586
Buffalo, N.Y. 14226
Fax: 716-874-4508
www.AmherstMedia.com

Publisher: Craig Alesse

Senior Editor/Production Manager: Michelle Perkins
Editors: Barbara A. Lynch-Johnt, Harvey Goldstein, Beth Alesse
Editorial Assistance from: Carey A. Miller, Sally Jarzab, John S. Loder
Associate Publisher: Kate Neaverth
Business Manager: Adam Richards
Warehouse and Fulfillment Manager: Roger Singo

ISBN-13: 978-1-60895-751-4
Library of Congress Control Number: 2014933303
10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic,
mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions.
The author and publisher will not be held liable for the use or misuse of the information in this book.

Check out Amherst Media’s blogs at: http://portrait-photographer.blogspot.com/

http://weddingphotographer-amherstmedia.blogspot.com/
 Contents

Author Biography . . . . . . . . . . . . . . . . . . . . . 5 Portable Battery Pack and Strobe . . . . . . 28

Reflectors . . . . . . . . . . . . . . . . . . . . . . . 28
Introduction . . . . . . . . . . . . . . . . . . . . . . . 6 Studio Equipment . . . . . . . . . . . . . . . . . . . 29
The Goal of This Book . . . . . . . . . . . . . . . . . 6 Light Meter . . . . . . . . . . . . . . . . . . . . . . 29
Obstacles to Good Photography . . . . . . . . . . 9 Strobes . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Learning to See the Light . . . . . . . . . . . . . 9 Softboxes and Umbrellas . . . . . . . . . . . . 29
Exposure . . . . . . . . . . . . . . . . . . . . . . . . . 9
Posing . . . . . . . . . . . . . . . . . . . . . . . . . . . 9
I’ll Fix It in Photoshop . . . . . . . . . . . . . . 11
Photography Is Art—But It Involves
Technical Know-How . . . . . . . . . . . . 12

1. Equipment . . . . . . . . . . . . . . . . . . . . . . 14
What Equipment Do I Need? . . . . . . . . . . . 14
The Basic Portrait Photography Kit . . . . . . . 15
DSLR Body . . . . . . . . . . . . . . . . . . . . . . 15
tech tip: Digital Sensors . . . . . . . . . . . . . . . 18
Lens . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20
tech tip: Aperture and F-Stops . . . . . . . . . . 22
Flashgun . . . . . . . . . . . . . . . . . . . . . . . . . 23
Loupe . . . . . . . . . . . . . . . . . . . . . . . . . . . 24
tech tip: Ambient, Incident, and Reflected

Light . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Tripod . . . . . . . . . . . . . . . . . . . . . . . . . . 25
Light Meter . . . . . . . . . . . . . . . . . . . . . . 26
All That in One Small Bag! . . . . . . . . . . . . . 27
Mobile Equipment . . . . . . . . . . . . . . . . . . . 27
Scrims . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

CONTENTS 3
 Reflectors and Flags . . . . . . . . . . . . . . . . 30 2. Photographing People . . . . . . . . . . . 35
Backdrops . . . . . . . . . . . . . . . . . . . . . . . . 31 Idealize the Subject . . . . . . . . . . . . . . . . . . . 35
Stands . . . . . . . . . . . . . . . . . . . . . . . . . . . 31 What You “See” Is What You Get . . . . . . . . 37
Advanced Studio Equipment . . . . . . . . . . . . 32 Posing: Keep It Simple . . . . . . . . . . . . . . . . 37
Posing Women . . . . . . . . . . . . . . . . . . . . 38
Posing Men . . . . . . . . . . . . . . . . . . . . . . 39
Posing Children and Families . . . . . . . . . 40
Glamour and Fashion . . . . . . . . . . . . . . . . . 45

3. A Simple Process . . . . . . . . . . . . . . . 47
Key Light . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Fill Light . . . . . . . . . . . . . . . . . . . . . . . . . . 48
Rim Light . . . . . . . . . . . . . . . . . . . . . . . . . . 49
Step 1: Carefully Evaluate Light Sources . . . 49
Analysis . . . . . . . . . . . . . . . . . . . . . . . . . 50
Selection . . . . . . . . . . . . . . . . . . . . . . . . . 54
Step 2: Compose the Image in Your Mind . 56
Step 3: Position and Pose Your Client . . . . . 59
Step 4: Measure Light Sources and
Set Camera Controls . . . . . . . . . . . . . . . 60
tech tip: White Balance . . . . . . . . . . . . . . . . 61

Step 5: Position and Set Power to

Light Sources . . . . . . . . . . . . . . . . . . . 64
tech tip: ISO . . . . . . . . . . . . . . . . . . . . . . . 65

Step 6: Take an Exposure, then View

the LCD and Histogram . . . . . . . . . . . 66
The LCD: Seeing Is Believing . . . . . . . . . 66
tech tip: Histogram . . . . . . . . . . . . . . . . . . 68

The Histogram: Seeing Is Verifying . . . . . 69

4. Outdoor Portraits . . . . . . . . . . . . . . . . 72
The Person Is the Central Object of
Your Photograph . . . . . . . . . . . . . . . . 73
The Background . . . . . . . . . . . . . . . . . . . . . 73
tech tip: Lens, Aperture, and Depth of

Field (DOF) . . . . . . . . . . . . . . . . . . . . 74
Close Background . . . . . . . . . . . . . . . . . 75
Distant Background . . . . . . . . . . . . . . . . 77
Panoramic Background . . . . . . . . . . . . . 77

4 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

 Diminishing Line and the Horizon . . . . . 77 Camera Support . . . . . . . . . . . . . . . . . . . . 104
Sunlight . . . . . . . . . . . . . . . . . . . . . . . . . . . 78 Light Ratios . . . . . . . . . . . . . . . . . . . . . . . 104
Bright and Sunny Sky Techniques . . . . . . 80 Portrait Styles . . . . . . . . . . . . . . . . . . . . . . 105
Using On-Camera Flashgun . . . . . . . . . . 83 Short Lighting . . . . . . . . . . . . . . . . . . . 105
Using Off-Camera Flash (Mobile Strobes) . 83 Broad Lighting . . . . . . . . . . . . . . . . . . . 105
Shady Areas Under a Bright Sun . . . . . . . 84 High Key . . . . . . . . . . . . . . . . . . . . . . . 105
Overcast and Cloudy Sky Techniques . . . 86 Mid Key . . . . . . . . . . . . . . . . . . . . . . . . 109
tech tip: RAW versus JPEG . . . . . . . . . . . . 87 Low Key . . . . . . . . . . . . . . . . . . . . . . . . 110
Beach Photography . . . . . . . . . . . . . . . . . . . 89 tech tip: Inverse Square Law . . . . . . . . . . . 110

5. Studio Portraits . . . . . . . . . . . . . . . . . 96 6. Indoor Portraits . . . . . . . . . . . . . . . . 114

The Studio as a Workspace . . . . . . . . . . . . . 96 Reflecting Light Off the Ceiling . . . . . . . . 115
Incident Light Meters . . . . . . . . . . . . . . . . . 96 Using a Window as the Key Light . . . . . . . 116
Lens Selection . . . . . . . . . . . . . . . . . . . . . . . 96
Strobes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98 7. Practice, Practice, Practice . . . . . . 120
tech tip: Focal Plane Shutter and Now You Are Ready! . . . . . . . . . . . . . . . . 120
Flash Synchronization . . . . . . . . . . . . 100 Follow the Process . . . . . . . . . . . . . . . . . . 120
Softboxes . . . . . . . . . . . . . . . . . . . . . . . . . 101 Review Your Work with a Critical Eye . . . . 123
Feathering the Light . . . . . . . . . . . . . . . 101 Editing the Digital Image . . . . . . . . . . . . . 123
Umbrellas . . . . . . . . . . . . . . . . . . . . . . . . . 101 Attend Workshops and Photography
Grids . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Seminars by Great Photographers . . . 124
Reflectors . . . . . . . . . . . . . . . . . . . . . . . . . 102 A Short List of the Photographers
Flags . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102 Whom I Admire Most . . . . . . . . . . . 124
Backdrops and Props . . . . . . . . . . . . . . . . 102
tech tip: Light Ratios . . . . . . . . . . . . . . . . 103 Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Author Biography
Bill Israelson is a portrait and wedding photographer based in the Panama
City/Destin Florida area. He operates a state-of-the-art studio and is happy to
go the distance, work as hard as he can, and do whatever it takes to satisfy his
customers.
As a young teen in the ’70s, Bill used his dad’s Minolta SRT-101 35mm SLR,
which soon became his go-to camera for high-school yearbook work and
taking photos of friends. His photography journey had begun, and Bill had been
“bitten.” Since then, photography has been his strongest interest. Throughout
the 1980s and ’90s, Bill employed a Pentax ME Super 35mm SLR with a variety
of Tamron lenses to photograph family, friends, and events. After years of pro-
ducing thousands of negatives, Bill went digital—and professional—in 2006.
Bill currently conducts photography workshops ranging from the funda-
Author photo courtesy of Katherine mentals to advanced lighting techniques. Rarely is he seen without a camera
➤

Israelson. strapped to his shoulder. He is the real deal—an enthusiast, perfectionist, and,
above all, a passionate photographer.
Look for Bill’s work at www.williamisraelson.com.
Introduction

The Goal of This Book photography and the art and skill of photo-
The goal of this book is to help you greatly graphing people to ensure that they look their
increase the quality and beauty of your photog- very best. Perhaps the most important idea
raphy. The book covers the essential elements of in the entire text is the process. Conducting a
portrait photography—from common mistakes successful portrait photo shoot, no matter the
to the needed equipment, we lay a foundation location, is based on a repeatable and reliable
of how to use the tools of the trade. We then process that increases the quality of the images
get into a discussion about the point of portrait and creates a well-conducted experience for

An example of a beautiful mid-key portrait taken in the studio.

➤

6 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

➤ One-light-source portrait.
A five-foot octabank with
600 watt/second strobe. The
softbox in this portrait was less
than one foot away from the
subject and two feet from the
backdrop. The falloff from the
light source lit the backdrop
sufficiently.
(left) An overcast day
➤

provides soft, even light on

the subject, yielding excellent
results.
(right) An example of excel-
➤

lent bokeh. Note the way the

subject “pops” off of the page.

INTRODUCTION 7
 (left) In this portrait we see the use of a rim light (hair accentuation) and a close background.
➤ ➤

(right) A great pianist photographed in my studio. Since the subject is male, the image was shot straight-on. The keyboard was the
perfect prop.

the photographer and subject. The unique and of situation such as bright sunlight or setting
important issues of photographing people in the strobes in a studio environment. I am always
studio, outdoors, and indoors on-location are glad to assist and provide advice on what I
examined in detail with example photographs know works for me. This book contains many
and descriptions of how the images were of those questions and answers. Technical
produced. jargon has been minimized. This book is not an
Frequently, I am asked by other photogra- attempt to impress the reader with complicated
phers to demonstrate how to use a particular ideas or complex technical information. Quite
camera control or tackle a specific photographic the opposite—the information in these pages is
problem. Sometimes the question concerns the presented as a straight-forward, one-on-one dis-
setting of camera controls in a particular kind cussion on using proven portrait photography

8 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

techniques to quickly make huge improvements The biggest obstacle to creating a
in your image capture.
As you turn the pages of this book, you’ll great portrait is learning to see the
encounter Tech Tips. Don’t be put off by the
light that surrounds your subject.
term “tech tip”—these sections, like the balance
of the book, have been written to be easily un-
derstood and enjoyed. Each Tech Tip presents In addition to learning to see the light, you
insights that support or build on information must learn how to work with the sun, strobes,
presented in the text. The major points covered reflectors, and flash to illuminate the subject,
in the book can be learned even if you decide to ensuring that the light levels are not too high or
bypass the Tech Tip text. too low. This brings us to our next concern . . .
It is my sincere hope that you will enjoy the Exposure. In order for an image to be
content of this book and that the tips and tech- effective, the exposure must be correct. Sounds
niques presented will help make a significant obvious, right? Digital cameras are less forgiv-
increase in your knowledge and skill and prepare ing than their negative film predecessors. When
you to be a better portrait photographer. using film, you could take an exposure that was
close to being correct, and the lab technician
Obstacles to Good Photography who processed your film was able to correct the
Learning to See the Light. The biggest obsta- exposure. With digital, if your portrait is over-
cle to creating a great portrait is learning to see exposed, the subject’s skin may lack detail. If
the light that surrounds your subject. I cannot the image is underexposed, the shadow areas
emphasize this point enough. You’re proba- may lack detail, and digital noise may result.
bly thinking, “C’mon Bill, we have heard that Not to worry—in this book, you’ll learn to
one before.” Yes, I know. I remember feeling avoid making exposure mistakes that can under-
the same way when hearing such a statement. mine your otherwise perfect portraits!
There was a time when while taking a portrait, Posing. Posing rounds out the list. In my
I excitedly wanted to pose the subject, then opinion, posing people for portraits is an art all
show off and set up my state-of-the-art camera, in and of itself. Unless you are working with a
then hurriedly get back to the shop to print professional model, you will be responsible for
the image. The first and most important step in posing your subject, couple, or group. Many
the photographic process—seeing and evalu- books offer excellent examples of posing—pos-
ating the existing light—was sidestepped, and ing for weddings, high-school seniors, families,
it showed in my work. I’m going to help you and glamour. I recommend that you purchase
avoid making the same mistake. I’m going to and read a few that appeal to you. But please
talk with you about light, the various kinds and understand that posing your client is not some-
qualities of light that we encounter every day of thing that you can do from memorizing photo-
our lives, and why you the photographer must graphs. I know because I tried; it did not work.
train yourself to relax, take a deep breath, and The reason is very simple: everyone and every
see the light around you. situation is different. The people that you will

INTRODUCTION 9
10 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY
I hear photographers say, “I’ll fix the an image as possible at the moment of exposure.
When capturing portraits, if you don’t think
image in Photoshop.” This way of that you achieved the proper exposure, compo-
approaching photography is a mistake. sition, pose, or lighting, then make appropriate
adjustments and continue to shoot until you
have it right.
photograph have unique characteristics—face, Disclaimer: Editing images to retouch skin
size and shape, hair color, and their own unique blemishes and to sharpen and crop an image is
personality. Additionally, there is an infinite a key to creating a salable portrait. However,
number of combinations of place, placement, editing an image should be a marginal task, not
and pose. We’ll go over some techniques for the task. If the image isn’t correct to begin with,
interacting with the folks you’re photographing, you cannot make it so in postproduction.
determining what will make a
good pose, and placing them
within a setting to enhance the
overall image.
I’ll Fix It in Photoshop.
Occasionally, I hear photog-
raphers say, “I’ll fix the image
in Photoshop.” This way of
approaching photography is a
mistake. Adobe Photoshop is
a phenomenal product and the
people who developed it must
be brilliant, but photography
happens principally in the
camera. Therefore, the goal
must be to capture as perfect

In this portrait, the location set the

➤

context of the pose. Whatever the mood or

personality of the subject, the pose helps
to enhance and idealize the person being
photographed.
➤ The background, prop, and use of
bokeh set the model apart and creates
and allows the subject to pop. It helps,
too, that the model has a terrific sense of
confidence and personality!

INTRODUCTION 11
 (above left) In situations like this, you’d better have your camera settings spot-on. These kinds of opportunities don’t repeat themselves.
➤ ➤

(above right) When photographing women, you will typically want to avoid poses that are straight-on to the camera. Here, the “rule” was
broken, as the photograph was to be used in a clothing catalog.

Photography Is Art—But It Involves design, and statements to be developed. With

Technical Know-How the advent of digital photography, and digital
To me, photography is undoubtedly art; and for imaging via computers and software, we are
many, that is what makes it such a beautiful and lucky to be photographers in such an exciting
enjoyable experience. As an art form, photog- time!
raphy reflects a breathtaking range of works. Before we get into all of the processes and
We humans are very creative, and so there is a techniques in this book, I want to state that
never-ending stream of examples of expression, what photography comes down to is what you,

12 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

the photographer, prefer. Remember, we are the equipment, the processes, and the making
having a conversation about what has worked of an image such that the mastery of the “tech-
for me. However, my hope is that what has nical stuff” will happen subliminally, make you
worked for me will work for you too! a better photographer, and get you down the
So, with the idea of art being subjective and path of producing your own individual style of
very personal, let’s now focus (no pun intend- portrait photography.
ed) on the actual photography. This book is not
intended to be overly technical; we’ll talk about

INTRODUCTION 13
1. Equipment

What Equipment Do I Need? within the hundreds of product categories who

The range of photographic equipment that are providing powerful high-quality products,
photographers can choose from is exciting. most of which are financially within reach of
There are now thousands of manufacturers most consumers. But with all of the choices,
there may be hesitation or confusion as to what
to acquire—and in what sequence. So, before
we dive into the good stuff of examining the
question of how to take professional portraits,
let’s first discuss what you should consider when
you’re building—one device at a time—your
photographic kit.
This book relates to digital single-lens reflex
cameras (DSLRs), not point-and-shoot or
rangefinder cameras. Although point-and-shoot
and rangefinder cameras can produce excellent
photographs (and I like using them in certain
types of situations) they do not offer the control
that is necessary for portrait photography. This
is simply my opinion. I will not suggest that you
go out and buy the very best of everything, be-
cause it is a myth that the more expensive your
stuff is, the better your images will be. In fact,
one has nothing to do with the other. I’ll share
with you my experience and will show you how

➤
This image is an example of a high-key portrait. Although the
gent looked away from the camera, it is a successful portrait.

14 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

to play it smart, minimizing your costs while
maximizing the quality of your photography.

The Basic Portrait Photography Kit

Let’s talk about the basic set of equipment that
you will need in order to produce portraits:

1. DSLR body
2. Lens
3. Flashgun
4. Loupe
5. Tripod

The above list represents a core set of compo-

nents that will follow you as you progress as a
photographer. For both outdoor and indoor
work, you can produce exciting brilliant imag-
es with just these five components. For most
of you, and for most of the time, you will be
working alone, and probably won’t be in the
studio—the studio generally comes later. For
now, I’d like to concentrate on the very core
of what you need—and hopefully help you to
make good decisions about where to spend your
money. Think about it: wouldn’t you rather
have the flexibility of working independently,
➤

In this image, the setting sun provided rim lighting on the

subject.
with everything you need in one hand (the
loupe will be hanging around your neck), and
save money? As you become better and better at controls and build quality. By controls, I mean
seeing and controlling light, you will naturally the manner in which you control exposure via
need to acquire various pieces of equipment, the ISO, shutter speed, and aperture. At the
and we’ll discuss that equipment in the follow- consumer level, the camera can be set to make
ing sections. It is wise to learn the basics or fun- many decisions about exposure automatically;
damentals and then progress to more complex at the professional level, the camera must be set
situations involving more equipment. manually. In the middle is the pro-sumer level,
DSLR Body. Bodies are generally divid- which combines opportunities for automation
ed into three categories or grades: consumer, and manual control. By build quality, I mean
pro-sumer, and professional. The differences in the materials that are used for the inner frame
the grade of these cameras can be seen in the and exterior surface of the body, and how well

EQUIPMENT 15
One of two distinct sensor types
is found in every DSLR body—the full-
frame or APS-C.

it is sealed from the environment. The consum-

er-grade camera will be smaller, lighter, and will
be moderately sealed to protect against dust and
moisture penetration; the professional-grade
camera will be large, heavier, made of high-
grade metals and alloys, and tightly sealed to
keep the most intrusive moisture and dust out
of the inner workings.
One of two distinct sensor types is found
in every DSLR body—the full-frame or the
APS-C. The full-frame sensor is equivalent in
size to a single frame of 35mm still photogra-
phy film. Full-frame sensors have outstanding
light-gathering performance; thus, they are
excellent in low light conditions and absolutely
fabulous for general photography. Full-frame
sensors are typically found in professional-grade
DSLRs. APS-C sensors are smaller than their
full-frame sensor counterpart; the exact size of
an APS-C sensor depends on the manufacturer
and camera model. APS-C sensors offer a tre-
mendous value when one considers the cost to
performance ratio. When shooting with a DSLR
body that incorporates an APS-C sensor, using
a lens which was designed for a 35mm SLR or
a full-frame DSLR will cause a cropping of the
image circle that is formed on the sensor. This
is not necessarily a bad thing. If you are using
telephoto lenses, then you get about a 1.5x
magnification of the focal length of the lens.
However, this same magnification works against
➤

The photos of Nikon DSLR bodies show a D300, D70, and D3s.
you when you are employing a wide angle The D70s purchased in 2006 continues to produce outstanding
lens as the “wideness” of the lens is narrowed. images and is well past the shutter cycle specification!

16 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

Finally, the number of shutter
cycles that a body will perform
increases when we go from
consumer to professional. For
instance, the Nikon D300
(pro-sumer) will actuate the
shutter 150,000 times before
needing servicing by the man-
ufacturer, whereas the Nikon
D3s (professional) is rated for
300,000 shutter actuations.
All of the major manufac-
turers are producing excellent
products. I photograph with
Nikon, but recommend that
you do some research and
shop around to determine for
yourself which brand makes
sense to you. Purchasing a new
camera brings with it a war-
ranty and “newness”—both
good. But consider purchasing
a better grade of camera than
you could otherwise afford by
purchasing a previously owned
camera. There are several very
good and reputable dealers in
the United States that offer
used equipment that has been
inspected and given a condi-
tion score. This can be a smart
way to maximize your dollar
and move closer (or perhaps
➤

This tyke sat in the rocking chair for approximately two seconds.
into) the professional category. Generally
When photographing happy, vibrant children, the photographer
speaking, after a couple of weeks of employing a must be alert!
used camera, you’ll forget that it was previously
owned, and delight in the fact that you’re hold-
ing a fantastic piece of equipment—at a fraction
of what it cost when it was new.

EQUIPMENT 17
tech tip Digital Sensors
It is important to understand the differences in sensor lenses to bodies vary among manufacturers, so consult
technology choices found in the DSLR. There are two a company rep of the manufacturer you’re considering).
major categories of sensor types: full frame and APS-C. However, there is a technicality involved here that should
A full-frame sensor is the size of a 35mm film gauge de- be covered.
signed for still photography, whereas the APS-C sensor is Digital sensors are comprised of a matrix of pixels
considerably smaller and varies in dimension by manu- that convert photonic energy into electrical current. From
facturer and model. there, the current is evaluated by a microprocessor, which
Both sensor types work very well and produce computes an image through the use of very elabo-
beautiful digital images. DSLR bodies which incorporate rate hardware and software. Two major technologies
the APS-C sensor and the compatible lenses are consid- employed in DSLRs are the Charged Coupled Device
erably less expensive than their full-frame counterparts. (CCD) and Complementary Metal Oxide Semi-Conductor
Both sensor types have an aspect ratio of 3:2. All of the (CMOS); both have unique designs and characteristics
major DSLR manufacturers now offer APS-C and full- which are beyond the scope of this book. Which is
frame compatible lenses, so mating body/lens systems better? That is up for debate. I happen to own bodies
is pretty straightforward (the rules of interchangeability of with both types of sensors and have yet to discover
which type of sensor “outperforms” the other. Sensors
are defined in terms of megapixels (MP), which is the
product of the number of pixels arranged along the long
➤ ➤

(top) Comparison of full-frame and crop APS-C sensor types.

(bottom) Here is a photo of a typical digital sensor. and short sides of the sensor. It is common now to use
a sensor that is 16 or 20 MP! The idea behind so many
pixels is to increase resolution. However, resolution may
be increased at the expense of noise and a reduction in
the fidelity of the image. The absolute value of the MP is
not necessarily the best measurement of the “goodness”
of a sensor. The physical size of the sensor must also be
considered. Why? Because the more pixels that are in-
stalled on a given square unit of surface, the smaller each
pixel must be. Smaller pixels struggle to capture incoming
photons. To overcome the struggle, engineers employ
amplifiers to increase the strength of the electrical current
produced by the pixel. This amplification can and usually
does translate to noise or distortion in the resultant image.
By comparison, fewer sensors placed on the same given
unit of square surface means that each pixel is larger and
has better light-gathering properties. Thus, amplification
of the signal is less of an issue. Sure, the resolution will be
lower, but noise will be reduced and the fidelity of the im-
age will be better. Canon and Nikon have both produced
full-frame sensors that are around the 12MP density. The
performance of these sensors is remarkable.
18 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY The first popular DSLRs that were available a decade
ago were equipped with APS-C sensor technology—
again, smaller in size than a frame of 35mm film. The
image circle formed from an attached lens on the APS-C
sensor was larger than the area of the sensor. Thus, part
of the image circle fell outside of the sensor and was
cropped—lost from the image. This is known as a crop
factor and is a function of the relative difference in the
size of one frame of 35mm film compared to the size of
the APS-C sensor. Mathematically, one way to calculate
the ratio is to divide the diagonal formed by a frame of
35mm film to the diagonal formed by the APS-C sensor.
For illustration purposes, let’s assume that a given APS-C
sensor is the same size as a frame of 35mm film. The ra-
tio of diagonals would be 1:1 and thus, there would be no
crop factor (obviously). Now let’s assume that the APS-C
sensor is half the size of the 35mm film. In this case, the
ratio of diagonals would be would be 2:1 and so the crop
factor would be 2. Since the size of an APS-C sensor
varies among manufacturers (just a bit), the crop factor
likewise varies. For Nikon APS-C bodies, the crop factor is
1.5; for Canon, it is 1.6.
Another way of thinking about crop factor is magnifi-
cation referred to as focal length multiplier (FLM). I prefer
to think in this way. For example, let’s assume that we are
using a Nikon APS-C body with an 85mm prime lens.
We know that Nikon APS-C bodies have a crop factor or
FLM of 1.5, so the effective focal length of the 85mm lens
is 127.5mm. This would be the equivalent of using a Nikon
full-frame body with a 127.5mm lens (if such a lens were (top) Lens-to-sensor crop factor.
➤ ➤

made). Let’s try Canon. Assuming a Canon APS-C body (bottom) This is an example of a Bayer filter.
with an 85mm prime lens and Canon’s published 1.6
crop factor or FLM, the effective focal length is 136mm.
Sensor sizes and lens technologies vary among and color channel of each pixel is compared to the neigh-
manufacturers of DSLR cameras. Nikon has addressed boring pixels, the result of which is a broad spectrum of
this by creating the DX line of lenses. A DX lens coupled color space and a color digital image.
to a Nikon APS-C body produces an image circle that
correctly covers the sensor. Whichever brand of camera
or lens you are considering, I recommend that you take
the time to do some research and ask questions of corre-
sponding customer support departments.
The digital sensor by itself only measures the inten-
sity or luminosity of light. To incur a color image, a Bayer
filter is placed over the sensor; it filters the three additive
primary colors of red, green, and blue (RGB). Think of
the filter as a checkerboard with individual squares, most
of which are green, and some red, and blue. Within the
DSLR processing, each primary color is given a channel EQUIPMENT 19
to process and compute a final color image. Through a
mathematical calculation called interpolation, the intensity
As important as the selection of a good raphy. Why? Because the quality of the lens
governs how the light is treated as it is refracted
DSLR body is, the lens is the most (travels or is collimated) within the lens barrel
important component in the camera bag. on its way to striking the sensor.
Prime Lens. A prime lens has a fixed focal
length, typically from 10mm to 500mm (and
Lens. As important as the selection of a good beyond). Primes are high performance and
DSLR body is, the lens is the most important expensive. The good news is that prime lenses
component in the camera bag. One high-qual- offer excellent performance as they are usually
ity lens—just one—is better than two or three comprised of the best materials (such as the
average lenses. You may already know this detail glass elements). You will find that when a prime
about lenses. But if you don’t, I guarantee that lens is used for portraiture that the images are
in time, after you shoot many portraits, you will bright, detailed, and accurate. Vignetting, or
come to discover that the lens becomes a critical dimness at all edges of the frame (away from
component of creative and beautiful photog- the center), is rarely if ever noticed when using
➤

These are examples of prime lenses. I especially like the 85mm for its flexibility—it’s a very good all-around performer.
➤ Here is an example of a three-quarter glamour pose with a close background. The red painted portion of the brick wall was selected to
increase the vibrance. The young lady depicted is a professional model from Tampa, FL.

20 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

EQUIPMENT 21
 to enter the lens, and creatively, the background
For portraiture, prime lenses such as
of the image can easily be blurred. (See the
a 50mm, 85mm, 105mm, and 135mm Tech Tip on Aperture and F-Stops for more on
this topic.) For portraiture, prime lenses such as
produce excellent results.
a 50mm, 85mm, 105mm, and 135mm produce
excellent results.
a prime lens, as it is when using lesser-quality Zoom Lens. A zoom lens offers a variable
lenses. Well-designed prime lenses offer focal length and thus provides a lot of conve-
extraordinarily wide maximum aperture settings. nience. Once you decide where you are going
This is a good thing, as more light is permitted to position the camera, you can change the focal

tech tip Aperture and F-Stops

The amount of light that enters the lens is controlled by reducing the diameter of the aperture from 50mm to
the aperture. The aperture is made up of a series of thin 25mm, the amount of light allowed to enter the lens is
mechanical blades which form a circular opening as cut in half. Conversely, by increasing the diameter of
can be seen in the example. The opening can vary in the aperture from 25mm to 50mm, double the amount
diameter and is either set automatically by the camera of light is allowed to enter the lens. The doubling or
or manually by you, the photographer. In either case, halving of the amount of light entering the lens is called
for a given lens, the f-stop (or f-number) indicates the a full stop. Below is an example range of full stops.
relative size of the aperture. Moving from left to right, each increase in the f-stop
The f-stop is calculated using the formula: f-stop = halves the light. Moving right to left, each decrease
focal length/aperture diameter. Given an arbitrary focal in the f-stop doubles the light. This is tremendously
length of a 100mm lens with an aperture diameter of convenient; dividing and multiplying by two is an easy
50mm, the f-stop would be 2. Given the same 100mm mental function and translates easily when adjusting the
lens with the aperture diameter of 25mm, the f-stop camera to lighting conditions. As convenient as the full-
would be 4. There is an inverse relationship between stop scale is, most DSLRs provide even more power for
the size of the aperture and the f-stop. So, f/22 is a tiny the photographer, allowing users to make 1/2 or 1/3-stop
aperture, whereas f/1.8 is a big aperture—regardless of adjustments.
the focal length of the lens. Note that in our example,

➤
Typical aperture formed by flat blades.
➤

Each increase in f-stop (toward the right) results in a halving of

the light, while each decrease in f-stop (toward the left) results in a
doubling of the light.
length to frame the image rather than having to
When in the studio, the flashgun is put
physically move your camera (as is the case with
a prime lens). For portraiture, a popular tele- away, but for all other situations I
photo zoom lens is the 70–200mm or 80–
normally have a flashgun ready to go.
200mm, which most if not all of the camera and
lens manufacturers produce. At focal lengths
between 105mm and 135mm these lenses are the larger the aperture. The larger the f-num-
very sharp, with excellent performance for the ber or f-stop, the smaller the lens opening. For
dollar. Due to the magnification of these lenses, example, f/2.8 is a larger diameter than f/16.
any shake or instability will cause blur. Later, Typically, higher-quality (and more expensive)
you will read about the need for a tripod, which lenses offer apertures of f/1.4 or f/1.8.
arrests most of the vibration. To quell the blur, Flashgun. The flashgun, or flash, is a must-
so to speak, manufacturers have incorporated have piece of equipment. When in the studio,
vibration reduction (VR), a technology that the flashgun is put away, but for all other situ-
compensates for the shake introduced when ations I normally have a flashgun ready to go.
handholding the lens. Having VR on a lens As I will explain in detail in a later chapter, the
is cool because it works, but it does increase flashgun functions as a fill light—and this is no
the price of the lens. If you can afford it, then small issue. In most cases, the absence of a flash
go for it. In the meantime, learn to attach the will result in the portrait looking dark, smudgy,
camera (and lens) to a tripod; you will see the with little to no vibrancy or “pop.” We will
difference a tripod makes when you view your
very sharp images.
Wide zooms are useful when photograph-
ing a person in a panoramic setting, capturing
wedding images, and for creative shooting. A
typical focal length range for a wide zoom lens
is 24–70mm or 17–55mm. When using these
focal lengths, take care to keep the subject being
photographed near the center of the frame to
minimize distortion of their face and body.
Aperture. The aperture is an opening that
allows light to enter the lens. A nearly circular
hole is formed by a series of thin, flat blades.
The aperture is an integral part of any modern
lens and is all-important when controlling the
amount of light that is permitted to enter the
lens and the resulting depth of field (DOF).
The term f-stop is used to denote the size of the
aperture. The smaller the f-number or f-stop,
➤

The Nikon SB-900.

EQUIPMENT 23
 being TTL compatible with DSLR bodies. Just
At a minimum, it is imperative that the
in case you were wondering, TTL stands for
flash that you purchase have a manual “through the lens.” A TTL flash automatically
provides the “correct” amount of light need-
mode.
ed in a scene based on a meter reading taken
through the lens. In other words, the camera is
return to this topic later, but for now, just know able to communicate with the flash. From my
that you should budget for a flashgun. standpoint, and the instruction in this book,
Most photographers would agree that TTL mode does not matter and will not be
illuminating your subject with an on-camera used. You see, we should not be interested in
flashgun creates blown-out-looking images. I the camera and flash “talking” to one another
wholeheartedly agree! That is not what we will and then making the decision of how much
be doing with the flashgun. Instead, we will use power to output to illuminate the subject (the
the flashgun to improve the appearance of the primary function for TTL). As a photographer,
person being photographed by placing a min- I want you to have complete control over the
imum but necessary amount of light on their exposure, and that of course includes the use
face. of the flash. The better flashguns allow you to
The modern flash provides remarkable power, shape the light being emitted; you can spread
consistency, and control of auxiliary light that is the light over a wide field of view (FOV) or
required to produce a professional portrait. make it a narrow beam. This is an excellent
Bear in mind that you will control the power feature, as it allows you to shape the light and
output of the flash. So, at a minimum, it is bring it to bear where it is most needed.
imperative that the flash that you purchase have Loupe. This device is a must. Please do
a manual mode. You may have heard of a flash yourself and favor and purchase a loupe. Back
in the day, when negative film strips and slide
film were being used, the photographer would
examine individual frames by looking through a
loupe that was placed directly on the slide (the
slide would be on a transparent and illuminated
light table). In the case of negatives, a proof
sheet would be developed by exposing photo-
graphic paper from several rows of slides. The
loupe has a slight magnification, so it made
“proofing” photos much easier than looking
straight at the slide or the proof sheet. Today,
you can do the same thing, but in real time, by

➤
The loupe.

24 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

tech tip Ambient, Incident, and Reflected Light
Ambient light does not have a point source—it is light that we can stand beside the person and conclude that a
surrounds us. It is readily available and lights all objects in point source of light is being used for illumination. To
a scene. Ambient light exists in the outdoors in a park as measure incident light, set a light meter to incident mode,
well as indoors in a room and is very useful to photogra- place the meter under the chin of the person being pho-
phers. When photographing a majestic lake with moun- tographed, ensuring it is aimed back to the light source,
tains in the background, ambient light is being utilized. and take a reading.
A portrait can be taken with ambient light, but to create The light meter that is built into a DSLR measures
outstanding portraits of people, more is needed than just reflected light. The meter reads the light that enters the
ambient light. To measure ambient light, set a light meter camera, does various calculations, and “decides” on an
to ambient mode, hold the meter near the person being appropriate exposure. Built into the logic of the meter
photographed, and take a measurement. is one of many ways of measuring the incoming light:
Incident light has a definite point source that we can center weighted and matrix metering are two common
see. For example, a flashlight is an example of a source offerings. If the camera is set to program mode (P), then
of incident light—we can look back on the flashlight and there is nothing more to do except take an image. This
see (and measure) the light it produces. When a key, fill, can work, sometimes. However, this is not a preferred
or rim light is employed in a lighting setup, incident light method of creating a portrait.
is being used. When the key light is aimed at the subject,
➤

Metering ambient light (outdoors). Metering incident light (studio). Metering reflected light, as is the case with
the light meter inside your DSLR.

placing the loupe over the LCD display on the looking at the LCD of your camera in daylight;
back of your DSLR body after taking an expo- it is almost impossible to see anything. The
sure. This is great, because not only can you loupe isolates the LCD for you, allowing you to
examine the image itself, but the histogram, and perform a proper examination of your image.
other details concerning the outcome of the I happen to love this little device; I use it all of
image (this will be discussed in detail later in the the time, in all shooting situations.
book). What makes this even better is that you Tripod. Learn to use a tripod in all but the
can use the loupe in the brightest sunlight! Try most austere environments or situations. Yes,

EQUIPMENT 25
 ➤
A typical, modestly priced tripod.

quickly because your camera is stationary. Your

proof sheets will have that professional look as
each image within the shoot has a consistent
frame around your subject. It is very likely that
you will take fewer frames to obtain the intend-
ed image. That last point is true for myself. The
tripod causes me to stop and think about what I
am doing, rather than just shooting away.
There are many great tripods available. Here
are a couple of things to consider when choos-
ing a tripod. Price is inversely proportional to
weight. The ultracool carbon-graphite tripods
are “spendy” items; consider what you will be
doing with the device, how far you will be car-
rying it, etc., and try to incorporate that metric
into your budget/decision. Consider a camera
mount that normally provides a quick attach/
release mechanism between your camera and
the tripod proper. You can spend a small fortune
on a tripod. I wouldn’t. Think in terms of a sol-
id base, with a decent camera mount, for under
there are those times when a tripod just won’t $350.00. If you desire the best, well the sky is
work (for instance, shooting at a rock concert). the limit in this area.
But if used properly, the little three-legged guy Light Meter. Although it is not absolute-
is definitely your friend. ly necessary, use of a light meter removes the
The tripod provides a stable platform for guesswork or the process of trial and error when
your camera and lens. It’s that simple. But the determining proper exposure. I personally use a
benefits are many. At the very top of the list: light meter and recommend that you make it a
sharpness and detail will be increased. Even in staple in your camera bag. The light meter you
the age of VR (vibration-reduction technology) select must be able to evaluate both ambient
on many great lenses, the tripod is king when and incident light. Ambient light is the light
it comes to ensuring that you obtain a tack- that is normally all around us. Sunlight, for
sharp image. Since the tripod and camera are instance, is ambient light. Incident light is light
in a fixed position in relation to your subject, that arrives at a surface. The light that is emitted
you are able to determine the exact exposure from a strobe of flashgun is considered incident
whether in the studio or outdoors, much more light. Later in the book, we will be using a light

26 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

meter to take both ambient and incident light With a decent set of fundamental
measurements.
All That in One Small Bag! There you have equipment, you can gratify yourself and
it—the basic portraiture photography kit. From your client with outstanding imagery.
there, you can procure additional equipment
that enhances your ability to produce profes-
sional results. The main point that I want to shadows on their faces and may be squinting.
leave you with here is this: with a decent set of Although you may require an assistant, you
fundamental equipment (and we talked distinct- must bring specialized equipment to bear on
ly about keeping costs down) you can gratify this situation. You have two choices: (1) cut the
yourself and your client with truly outstanding sunlight down by placing a scrim above the sub-
images. The next section we’ll go into is a dis- ject (out of the camera’s field of view) or (2) il-
cussion about mobile and studio equipment—it luminate the subject with a portable strobe. We
is exciting stuff, but it’s not entirely necessary. will get into this approach in detail in chapter
You will see in later chapters that the basic kit 4. For now, let’s concentrate on a description of
that we have just defined will get you way down the equipment that will be used.
that road in your photographic journey. For Scrims. Scrims serve to filter light. Hard,
those who are totally fanatical about photogra- contrasty light passes through the scrim and
phy (as I am), there is an endless “trail” of stuff
to incorporate, and that’s okay too.
➤

A scrim mounted to a stand (for demonstration).

Mobile Equipment
When you are asked to create a family portrait
in the home of your client, photograph a wed-
ding, or you simply want to shoot in the great
outdoors, additional equipment may be neces-
sary in order to achieve optimal results. Wheth-
er you are shooting in a dwelling or outside in
a beautiful setting, you don’t necessarily get to
decide the exact placement of your subject(s).
For example, a client may indicate that they
want a family photograph in front of a park
fountain and they want to be photographed fol-
lowing the lunch hour. On the day of the shoot,
you find that the fountain is in the middle of a
park with no shade, but with an abundance of
hard, high-contrast light. What will you do? If
you do nothing in the way of light modification,
the people in the photograph will have hard

EQUIPMENT 27
 ➤
This image shows my portable battery and strobe.

up illumination and significantly enhance the

beauty of the image. Portable strobes range in
price, quality, and power. Important parameters
to look for are: (1) the maximum power output
in watt/seconds or Joule/seconds—the higher
this number, the more power, and therefore the
easier it will be for you to compete with the sun
and (2) the maximum number of flash cycles
that can be achieved at nominal power settings
(i.e., How many photos can you take on a single
battery charge?). I recommend that you take
your time and do some research by talking to
is diffused and therefore softened. Scrims are other photographers and manufacturers in order
normally made of rip-stop nylon stretched over to make an informed decision.
a rigid or flexible frame. Scrims are graded We’ll discuss the use of portable strobes in
by their ability to filter the incoming light. A chapter 4.
1-stop scrim will cut the incoming light in half, Reflectors. Reflectors are an inexpensive illu-
a 1/2 stop scrim will cut the incoming light by minator that can be used to direct sunlight and
1
/4, and so on. Scrims are an excellent tool when artificial sources of light to your subject. Re-
your objective is to diffuse the sunlight that flectors are normally one of three colors: white,
is cast on your subject. Sunbounce produces silver, or gold. White and silver reflectors are
a scrim that is a large rectangle attached to a used indoors on location or in the studio, while
boom. I personally love this piece of equipment gold is typically used outdoors to reflect sun-
as it works wonders on softening sunlight, and light—but yes of course, you can use them in
the boom ensures that I have a wide field of any situation that you desire. A word of caution:
view when photographing a couple. avoid using a reflector outdoors to reflect bright
Portable Battery Pack and Strobe. Portable sunlight unless you or your assistant really
strobes are invaluable when you need light- understands how to use a reflector. The chance
ing on location, whether indoors or outdoors. of “hitting” the client in the eyes with sunlight
I guess you could argue that all strobes are is just too high—and that could end the photo
portable—provided you are in proximity to shoot, or worse. On overcast days, this is much
electrical power. What I am discussing here is less of a problem, but please be aware that by
battery-powered strobes that run independent using a reflector, you are directing sunlight. I
of any external power source. So in the prior mostly use reflectors in the studio and on loca-
example in which the client is in a park, using tion—they are inexpensive and work!
portable strobes would provide the ability to set

28 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

Studio Equipment The strobe, in combination with an
The studio is a very creative place to work.
Aspects of climate, lighting, and the scene are umbrella or softbox, will be your
under your control. Putting a decent studio primary illuminator.
together can be accomplished with a modest
investment. If your goals do not include build-
ing a studio, you may want to consider renting frustrate you. For a basic studio setup, I would
studio time. For most photographers, renting recommend two strobes; you will have the
a studio for a half day can be a rewarding flexibility of having a primary illuminator and a
experience. second for filling in shadows. This is explained
Let’s talk about the equipment that you will in further detail in chapter 5.
need in order to produce studio portraits: Softboxes and Umbrellas. Although um-
brellas are inexpensive, I prefer softboxes and
1. Light meter recommend them for their soft, manageable
2. Strobes light. The softest light is produced as a function
3. Softboxes and umbrellas of the size of the front panel and proximity to
4. Reflectors/flags your subject. When the light from the strobe
5. Backdrop is distributed across a large surface area and
brought close to the subject, it transitions from
Light Meter. At the very center of the studio being specular (a single point) to diffuse (a
is the incident light meter. We’ve already gone
over the need for a light meter. In the studio
environment, you will be using the light meter
➤

This is an example of a studio strobe—in this case, an Elinchrom Rx600.

to measure incident light. Proper use of the
light meter will save you time as you can set the
lighting and camera correctly without guess-
work. Furthermore, you can record light meter
readings for future projects or to communicate
a setup to another photographer (light meter
readings are generally communicated in light
ratios computed from f-stops).
Strobes. Right behind the light meter is
the strobe. The strobe, in combination with
an umbrella or softbox, will be your primary
illuminator. Look for strobes that maintain both
consistent discharge power and white balance
(Kelvin temperature). This is all important be-
cause variances in either power or white balance
result in inconsistent images and will most likely

EQUIPMENT 29
➤

(left) This is an example of a 5-foot octabox coupled with a 400 watt/second strobe. This strobe-and-softbox combination offers excel-
lent, soft light on your subject.
➤ ➤

(center) A flag is a great tool for studio photographers.

(right) A full-length silver reflector suitable for work in a studio.

broad area). The result is a remarkable softening with electricity. Reflectors are important when
of the point source of light. Think of it like this: shaping the light for various effects. A reflector
the sun on a cloudless day is bright and harsh, can be white foam board, silver, or gold mylar
whereas on an overcast day, it is dimmed and plastic. Typically, they are much less expensive
soft. Which of the two days do your eyes feel than their strobe counterpart and, as mentioned
better? The energy from the sun is spread across in the mobile equipment section, are highly
the biggest softbox you will ever use, the cloud flexible and adaptable at placing just the right
vapor in the atmosphere. amount of light where it is needed. I use a
I recommend that you purchase at least 4x6-foot silver reflector; it stands on the floor
one large softbox (24x36 inches) or a 48-inch and reflects the light given off the main light,
octabox and use it as your main light source. producing fill light.
As time goes on and you produce in the studio, Flags are a means of blocking light and are
you will see for yourself how larger softboxes therefore subtractive. Most flags are black
create magical, soft light. velveteen material stretched over a square or
Reflectors and Flags. Reflectors are real- rectangular frame. Although not used all of the
ly illuminators—you just don’t power them time, when the moment arrives when you have

30 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

stray light entering your lens or you wish to in what type, color, and texture that you em-
block light from striking the subject being pho- ploy. For those just starting out, I recommend
tographed, a properly positioned flag will arrest that you try using 50-inch paper rolls—black,
the light and your problem will be quickly and gray, and white. These are reasonably priced
easily solved. and will provide you with useful knowledge
Backdrops. In terms of style, theme, and and feedback on how light falls off onto the
cost, backdrops are the Grand Canyon of studio background surface. We’ll discuss this in a later
photography—there is no end to what you can chapter.
dream up to put behind your subject, and there Stands. Stands are an absolute necessity, as
exists a phenomenal selection in the industry. they hold all of the aforementioned equipment
The backdrop substrates include muslin, paper, in position. Stands range from lightweight
canvas, synthetic, vinyl, computer printed, and aluminum fold-out, to chrome-plated steel, to
hand-painted customs. Your taste will guide you massive telescoping behemoths. I recommend
➤

These are typical stands. The black tripod is aluminum, lightweight, and relatively inexpensive. The “C” stand is chromed steel, heavy,
expensive, and used in a studio environment.

EQUIPMENT 31
 tions to this problem. Using a computer (PC or
Additional strobes will provide
Mac), with the brand software, you can control
increased options in terms of lighting your strobes via wires or wirelessly. Thus, no
matter the position of the strobe itself, you sim-
arrangements . . .
ply access your computer, select the strobe you
want to set, and input the power level desired.
that you consider using a stand that will not One manufacturer has an app that will do all
allow whatever it is holding up to fall down. of this from an iPhone. There is no doubt that
Over-engineer the stand if you must, but err on investing in this type of technology will save you
the side of safety. You absolutely do not want time in the long run.
your equipment toppling over onto the client— There are many sizes and shapes of softbox-
or you, for that matter. es. In terms of advancing your studio, consider
adding a narrow rectangular box ranging in
Advanced Studio Equipment size from 12x30 inches to 14x50 inches. Such
For those of you who want to be able to handle a softbox can be used as a strip light above your
more complicated photographic studio assign- subject to produce highlights on the hair or set
ments, additional equipment is necessary. First vertically on the floor and behind your subject
and foremost, additional strobes will provide at an angle to add rim light. Due to the verti-
increased options of lighting arrangements such cally narrow pattern of light that this softbox
as rimming your subject from the left and right. produces, it is ideal for creative black & white
Rimming is lighting the edge of your subject. work. When used as a single illuminator, the
Having strobes on hand that vary in power larger dimension of this softbox is excellent for
from 300 watt/seconds to 1200 watt/seconds creating a sense of mystery and interest.
coupled to appropriate softboxes or umbrellas Tethering your camera by an electronic wire
will result in dedicated setups from headshots to or wirelessly via radio frequency to a computer
group or family themes and save you the time is another high-tech means of conducting a
of moving equipment around. The number of photo shoot in the studio. Instead of reviewing
strobes that you decide on should be a function the photos on your camera’s LCD, you do so
of your budget and the dynamics of how you via a personal computer and display. There are
plan on using your studio. For example, in my many applications that will allow you to do this,
studio I employ a 6-foot octabox with a 1200 from Adobe Lightroom, to Nikon, and others.
watt/second strobe which serves both as a main This is a very cool way for you and your client
light source and, when needed, a fill light to to see their portraits in near real-time (it does
reduce or eliminate shadows. take a few seconds for the images to arrive at the
Control over your strobes can become an computer).
issue. The time you consume moving from me-
tering your subject to moving to set the strobe ➤ For this image, a reflector was used to the left of the model.
power can become tedious. Most of the major An on-camera flashgun was used to fill in the shadows, while the
manufacturers of strobes offer computer solu- reflector illuminated the left side of her face.

32 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

34 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY
 2. Photographing
People
Idealize the Subject than it is in everyday life. Although this might
The final image of a person should reflect an seem to be an obvious goal for the portrait
ideal version of both the physical qualities as photographer, it is one that is often missing.
well as personality. By ideal, I mean that the People are not coming to you to get what they
image is a superlative—the best-possible rendi- quite easily can do with their own camera—a
tion of the person; that by a great margin, their decent image. They are employing you because
appearance in the photograph is much better they believe that you can produce something

➤
Bokeh and a diminishing line combined to create interest in this portrait.
➤

This well-known saxophonist was captured during a concert. Note the rim light provided by the spotlight downstage.

A SIMPLE PROCESS 35
36 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY
truly unique, outstanding, and that makes them, There is a timeless elegance in keeping
their loved ones, business partners, or friends
look really great. This next section will outline the pose as straightforward and simple
key factors in producing beautiful and involving as possible.
images of people.

What You “See” Is What You Get

Fundamental to producing a professional result setting—nor should they, that is your job. Upon
is visualizing the final image in your mind. By initially meeting the person or persons you are
visualizing the final image, I mean that you going to photograph, commence with the men-
mentally “see” specifically the setting, wardrobe, tal process of taking into account their physi-
pose, expression, and lighting as though you cal nature. Ask yourself, what are the positive
were looking at the photograph itself. By virtue attributes of this person that can and should be
of the fact that you are interested in photogra- emphasized? What is it that should be dimin-
phy, you own a brain that is predisposed to visu- ished or even hidden? In the context of indoor
al processing, imagination, and artistic creativ- or outdoor settings, what selections of ward-
ity. So, I’m suggesting that you use it to your robe and makeup will enhance their appearance?
advantage. Instead of just pointing the camera How should the person be posed to maximize
and clicking away to see what you get, why not their physique? Continue this type of evaluation
decide first what it is that you want to create, with the seriousness of a physician diagnosing a
and then work toward that goal? I can attest patient.
that you will feel a tremendous sense of grati-
fication when you remove the guesswork and Posing: Keep It Simple
create an image that was thoughtfully planned. There is a timeless elegance in keeping the pose
The really great portrait photographers do what as straightforward and simple as possible. Look
I’ve just described inherently, quickly, and with to the masters such as Rembrandt or Renoir,
ease. I continually strive to develop and hone and you might agree. After all, their work is not
this skill. easily forgotten and has stood a great test of
People will arrive in front of your camera time. It is easy to get caught up in whatever the
in various combinations of age, gender, body current trend might be, and so be it. But I’m
structure, hair color, eye color, and so on. making the suggestion that if you stick to a fun-
Unless you are working for a high-end fashion damental approach to posing, you will increase
magazine, the majority of your work will entail the artistic and emotional depth and quality of
photographing everyday people. Most of the your photography. I’ve broken it down to five
time they will have very little knowledge about categories: women, men, children and families,
posing, coordinating wardrobe, makeup, and groups, and glamour/fashion. Some basic rules
of thumb can be applied in each case that will
➤
This image was taken for a commercial advertising project. The serve you to produce images with a lasting
gentleman was photographed in mid-key, in a full-length, casual pose. quality.

PHOTOGRAPHING PEOPLE 37
➤

The necessary “S” is depicted in this photograph from head to toe. The young lady in this photograph is altering angles of her pose.

Posing Women. Women are photographed Think about it, the opposite of what I am
at an angle to the camera. Do this as a matter suggesting would be to stand straight and tall,
of habit. As you develop your skill of posing facing the camera; that doesn’t work. The head
women, you can bring the camera around for an should be tilted slightly forward or back, and
orthogonal perspective, but I do so rarely. The not straight up and down. Combined, your per-
female form is accentuated by creating S shapes. spective and her pose should take into account
This can be accomplished in all portraiture that the end of the nose does not break the
perspectives: full length, three-quarter, or upper line formed by the cheek. With older women,
body/head shot (discussed in the glamour/ slightly lifting the chin provides a more flatter-
fashion section). The bending of the neck, arms, ing, younger appearance. The shoulders should
lower back, and knees (in various combinations) be lowered without tension, with the shoulder
will result in an ethereal, feminine posture closer to the camera slightly lower than the
which normally results in a “better” portrait. other. Whether the subject is standing or sitting,

38 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

the arms and legs should never be straight but male form, we are not interested in forming
should have natural bends. The legs specifically an S shape. Whether casual, or formal, when
should be “scissored” so that the feet are offset. photographing a man, the pose should accen-
The hands should bend naturally at the wrist, tuate strength, confidence, happiness—that the
with fingers in a natural position (no fists or a guy in the photograph is a winner, someone you
claw-like presentation). When it makes sense, would like. The man’s head should be turned
the hands can come together with palms facing, to look straight into the camera regardless of
one placed on top of the other, and sometimes photographing from an angle or straight-on;
the fingers can be interlinked. I usually ask the doing so will result in achieving a masculine and
subject to sit up as much as
possible; at the moment it
might feel slightly unnatural,
but it improves the look of
the final photograph. It is a
good idea to avoid extreme
angles of the head and eyes.
In the case of the head, do
not have the woman turn her
head to the point that her chin
is approaching her shoulder;
similarly, do not have her turn
her eyes so that she is looking
out of the corner of her eye
socket. Both of these mistakes
will ruin what might otherwise
be a great image. If one eye
appears larger than the other,
pose the subject so that his
or her smaller eye is closer to
the lens. The majority of the
time, the subject should smile.
If the portrait is to be used
professionally (e.g., a senator,
doctor, military member),
forgo the smile.
Posing Men. Men can be
photographed either straight-
on or at an angle—it is your
choice. However, with the

➤ The soft sunlight found on the shadow

side of his ship provided excellent results
for this handsome merchant mariner.
confident look. One hand in a pocket, or arms
➤

With an extraordinary shallow depth of field and soft afternoon

folded, or hands clasped together will work in sunlight, this portrait captured her personality.
➤ This beautiful family is captured on a Florida beach as the sun
almost every pose whether seated or standing.
is just above the horizon (camera right). The horizon was intention-
The shoulders should be blocked so that they ally blurred to minimize the effect of “cutting” the subjects.
are even with one another; if the perspective is
at an angle, the shoulder closer to the camera
should be slightly lowered. Whether sitting or I took thousands of photographs of the “three
standing, the individual should project confi- amigos.” What I learned from photographing
dence by sitting up or standing straight and tall. my own children is this: when photographing
Generally, I do not tilt a man’s head unless he is kids, you are rarely if ever in charge! Most of the
being posed with a female such as his spouse— time, kids are aware that photography is taking
personally, I just don’t like that look. Again, I place, but their attention span is much shorter
will argue that a smile should not be wasted. than that of an adult, and in most cases, they
Get your gent to smile—even a slight grin will care only so much about what is going on. So,
often take the image up a notch. you must be prepared and ready to get that
Posing Children and Families. My wife and terrific image (for Mom and Dad) very early
I raised three boys, and throughout those years, on in the photo session—and I do mean early.

40 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

A SIMPLE PROCESS 41
➤

The background of green foliage provides both a consistent texture and beautiful contrast to this young woman.
➤ This is an example of a strong pose which exudes confidence. Simple and straightforward, the image was shot on the shadow side of
the building.

Posing a child is straightforward: whether sitting an odd number of people in your frame. But as
or standing, allow the child to do their own a general rule of thumb, anchor the image with
thing. Yes. Let them jump, sit, move around, adults, surrounded by the children. There are
even clamor. Crank up your “patience meter” hundreds of combinations of parents kneeling
and take a few more frames than you normally or standing with children flanking or standing
would. Children will surprise you with a smile, a just behind.
laugh, an endearing look to one of their par- Have all members dressed in monochromatic
ents—so capture that moment. or patterned attire, but try not to mix the two;
With families, the pose should resemble a otherwise, those wearing the patterned clothes
triangle. This is easier to achieve when there is will get all of the attention in the image. Create

42 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

44 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY
➤
Taken at high noon in Sarasota, FL,
on a hot summer day. As the subject was
male, he was posed straight-on to the
camera.
➤ Another example of a simple pose,
with the subject once again posed under-
neath an overhanging ceiling or roof.

a cohesive look between the

parents and their children.
This comes with experience.

Glamour and Fashion

Depending on who you talk
to, glamour photography
has a wide range of mean-
ings in contemporary media.
So right up front, I want to
define glamour photography
as it pertains to my business
and my approach: glamour
photography involves the
intentional accentuation and
exaggeration of the physical
beauty and emotional state of
a person, regardless of gender.
Glamour photography does
not involve nudity; nude pho-
tography is its own category.
Glamour photography is abso-
lutely and only about the per-
son in the image. Some might
disagree with me, and that’s
okay. But if you draw the
line on glamour as I have, you can provide the ters, and upper body/headshot. Full length
public and commercial sector with a worthwhile is just that, a head-to-toe image of a person;
service that continues to be in high demand. three-quarters is just above the knee, while
When posing a person for a glamour im- upper body/headshot ranges from the waist to
age, there are three basic perspectives that one just below the bust/chest line. Recall the funda-
should understand: full length, three-quar- mentals of posing a female or male and combine

PHOTOGRAPHING PEOPLE 45
There is a timeless elegance in Fashion photography is far less about the per-
son in the image and more about the clothing,
keeping the pose as straightforward shoes, or jewelry with which they are adorned.
and simple as possible. The subject being photographed will almost
always look away from the lens, indicating indif-
ference. This increases the focus of attention on
them with these three perspectives. In a glam- the adornment(s) and away from the person.
our image, the person being photographed is
always looking straight into the lens.

➤
With the setting sun low on the horizon, its light was soft
enough to serve as the main light source. Fill light was added with
an on-camera flashgun.
➤

The diagonal lines in the background and the pose of the

subjects add a nice, dynamic feel to this portrait of a bride and her
young brother.

46 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

 3. A Simple Process

You just might be thinking, “Bill, if you reduce the creativity, art, and the inspiration actually
portrait photography to a process, you are tak- increase!
ing the creativity, art, inspiration, and fun out of Most of us would agree that photography is
the equation.” My response is that by applying a combination of technical and artistic com-
a simple process, the exact opposite happens: ponents that come together as a documented
➤

Here is an example of a portrait involving excellent bokeh and high contrast background which results in three-dimensionality and “pop.”

A SIMPLE PROCESS 47
 ➤
This diagram shows the typical placement of the three com-
mon light sources.

subconscious, then you have more time and

mental energy available to devote to the artistic
side. The simple process that we are going to
discuss in this chapter is designed to increase
your ability to produce high-quality images
quickly and with relative ease. The problem of
creating a photograph is reduced to six logical
steps. Once the six steps are complete, nothing
remains but to take as many excellent photo-
graphs as you wish.
Since the following terms will be used
throughout the rest of the book, some defini-
tions are in order. Bear in mind that the three
types of light sources—the key (also called the
“main” light), fill, and rim lights are common
to the studio, outdoors, and indoor locations.
image. On the technical side, photography
involves: optics, mechanisms like shutters and Key Light
apertures, photons (light), proper focus and The key light is the primary illuminator and
exposure of those photons to a sensor or film, places light on the face, torso, or entire body of
computers, and the printing or virtual represen- your subject (depending on the composition).
tation of the final image, and more. Artistically, In most cases, the person being photographed
photography involves the human condition, will be facing or looking into the key light.
emotions and feelings, composition, beauty, Examples of key lights are a strobe, strobe
attitude, and various statements of expression. with softbox or umbrella, the sun, and in rare
The technical side of photography can be cases, an on-board flash that is bounced off of
taught, repeated, and mastered because it is a surface such as a ceiling. It is easy to think of
based on physics, while the artistic side is a con- the key light when referencing a studio en-
tinuous domain of the imagination and freedom vironment. However, the key light is equally
of expression. I wouldn’t dare to attempt to important outdoors and in non-studio indoor
teach art principally because I am not an artist locations.
and therefore not qualified; to me, art is very
personal and subjective. But, if you master the Fill Light
technical aspects of photography to the point The fill light is used to reduce contrast and
where executing the creation of a photograph thus eliminates shadows. Used properly, the
becomes inherent and in some ways even fill light has a softening effect that smooths the

48 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

appearance of the skin and generally improves If you start with poor light, you put
the quality of the photograph. Examples of fill
lights are strobes, strobes in softboxes, on-board yourself at a disadvantage with little
flash, and reflectors. You may be thinking, chance of producing a beautiful result.
“Wait a second Bill, the examples that you give
for the fill light are practically the same as the
key light?” Yes, that is correct, and we’ll soon The following process is common to pro-
discuss the inter-changeability of these sources, ducing portrait photography no matter where
depending on the type and quality of light. you happen to be creating the image. Whether
you are in a fully equipped studio or on a sunny
Rim Light beach, this process works equally well. The rules
The rim light is a source of light that is usually of good portraiture remain the same regardless
higher in luminosity than the key and certainly of the setting. My hope is that after a period of
the fill. The rim light or “kicker” as it is some- time using this simple approach, it becomes sec-
times called, places a high-contrast rim of light ond nature to you; at that point, only a fraction
on at least one edge of the body of your subject. of your mental energy will be dedicated to “set-
The rim light is highly directional and is situated ting up the shot,” and an abundance of your
to some angle behind and aimed at the person energy will be driven toward creative spontaneity!
being photographed. Rim lighting is not an ab-
solute must, but when used properly, it provides Step 1: Carefully Evaluate Light Sources
a nice three-dimensional effect by separating the As most of us go through our daily lives, we are
person from the background. Examples of rim not particularly aware of the light that sur-
lights are strobe, strobe and softbox, the sun, rounds us. Whether it is bright sunshine, office
and remote flash. light, or the twilight hour, we do not have a

➤ This diagram depicts the six steps to

successful portraiture.

A SIMPLE PROCESS 49
 ➤ These photos were taken around
➤

noon on bright summer days. The Navy

Seal was standing in broad daylight (hard,
high contrast). The light on the woman
is softer. Note how the type of light has
a great effect on the look and feel of the
images.

result. The evaluation of light

involves both the selection of
a primary light source and the
analysis (or feedback) of how
the light is affecting the look
of your subject. By primary
light source, I’m talking about
your key (main) light. There
are other light sources such as
the fill, and we’ll get to that.
The key light comes in many
forms, such as a softbox, the
sun, or a flashgun mounted on
your camera bounced off of
the ceiling. It does not matter
if you are working in a studio,
your living room, or the great
outdoors; this first step holds
true.
Analysis. Analyzing the
light source is in large part
making a decision to discrim-
inate against poor light and
utilize the good light that you
reason to analyze the light conditions in which have available. What constitutes good light? It is
we find ourselves. However, as a photographer, soft or flat light that helps people to look their
you must evaluate light in order to produce best in a photograph. I generally agree with
professional results; if you start with poor this assertion. However, what constitutes good
light, you put yourself at a great disadvantage light has a lot to do with the objective of the
with very little chance of producing a beautiful final image. Thus, good light can be the hard,

50 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

A SIMPLE PROCESS 51
 ➤
Soft, diffused sunlight was used to
create a flattering image of this couple.
➤ Here, the setting sun provided the key
light. By carefully angling her body relative
to the sun, we achieved excellent contrast
and definition.

sense as the photographer.

Contrast is the difference
between the bright and the
dark portions of a scene; for
portrait photographers, it is
the difference between the
highlight (illuminated) and
shadow (nonilluminated or
less illuminated) sides of the
human face and body. Does
good light exist somewhere
between high contrast and low
contrast? Yes. However, by
making the conscious decision
to distinguish between high-
and low-contrast light, we are
being deliberate and avoiding
the guessing game.
With practice, you will
develop a manner in which
you will analyze, evaluate, and
make judgments about the
way in which a light source is
interacting with the person be-
ing photographed. Sometimes,
waiting for the sun to drop in
the sky increases the quality of
the light (softer, warmer), and
even then, it may be necessary
to move the subject when pos-
specular, high-contrast light from the sun or ing to get the light to illuminate their face in an
the soft, low-contrast wraparound light from a optimum manner. When in the studio, you will
softbox—it depends on your goal and creative start to move softboxes and umbrellas at

52 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

A SIMPLE PROCESS 53
➤

This image was taken in the Zion National Forest. The morning sky was slightly overcast and produced soft, even light. An on-camera
flashgun provided just a dab of fill light, which can be seen reflected in the woman’s eyes.

angles to the face of the subject (“feathering” graphed—especially the face and exposed skin.
the light) because you will see the difference The result of even light is consistent, stable
that incremental adjustments can make to the contrast of your subject; the skin tone will look
quality of the image. consistent, and the photograph will be pleasing
Selection. As portrait photographers, we to the eye. Examples of light sources that offer
concentrate on how a given light source is even light are a properly positioned 24x36-inch
illuminating the person being photographed. softbox, the sunlight on a cloudy day, the shade
It is the relationship between the light and the that appears from a large overhanging roof or
skin, eyes, hair, and clothes that we are con- truss on a building, and the sunlight that comes
cerned about. Again, it does not matter whether through a skylight in a building.
we are using a strobe in the studio or the sun in If the light source is not even, then the
the outdoors, the goal is the same—to ensure problem arises of having both dark and bright
the best-possible use of light on the subject. areas on the subject which degrades the quality
Good light has a quality of being evenly of the photograph. Examples of uneven light
distributed across the person being photo- are the sunlight light that penetrates branches of

54 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

a tree, light that bounces off
of interior and exterior walls
of a building, and improperly
positioned strobes, softboxes,
or umbrellas either singularly
or as a grouping. The result
of uneven light is inconsistent
contrast on the skin, hair, and
clothing.
Although it is not the final
word, the chart below serves
to categorize optional light
sources. By cross referencing
the photographic domain with
the intended look of the final
image (high or low contrast)
an appropriate choice of light
source is made; it represents a
starting point.
The image on the right
illustrates my point. The
analysis and selection of the
sunlight at midday rendered a
beautiful image of this young
couple. In this instance, the
midday sun in the cloudless
sky served as the key light. The
contrast was high, the light
perfectly even. The result is an
image with an abundance of
density that flatters the couple.

➤ (top) Taken at the brightest time of day,

this is an example of a high-contrast portrait.
➤ (bottom) A simple cross-reference for
selecting a light source appropriate to your
domain and intended theme and look of
the final image. A SIMPLE PROCESS 55
Step 2: Compose the Image in Successful portraiture involves having
Your Mind
Successful portraiture involves having a pre-
a preconceived image that you
conceived image that you, the photographer, visualize prior to exposing the frame.
visualize prior to exposing the frame. To the
best of your ability, you should develop the skill
of conjuring the finished work in your mind. as these is the most fundamental step in creating
Within your mental framework, photograph- the mental picture of the final photograph; the
ing the person and the creation of the image answers will become the foundation for the rest
is underway. Perform some analysis by asking of the process.
(and challenging) yourself: Is this an outdoor Composing the final photograph in your
image? If so, is it a field, a brook, a street? What mind builds on step 1. For example, you have
time of day is the image to be shot? What will taken the time to evaluate possible sources
be the position and intensity of the sun? What of light. You’ve made the decision to use the
wardrobe will integrate well within the image? If
this is a studio project, what backdrops, seating,
props, and lighting will constitute the image?
➤

If your client asks you to photograph his family Careful selection of the background, direction of the sun, and
wardrobe led to this beautiful image.
at their residence, what architectural aspects, ➤ This is a great example of a low-key studio portrait. The mood
furniture, and available light will add impact to exhibited in the photograph is due to the facial expression and
the photograph? Asking yourself questions such contrast.

56 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

A SIMPLE PROCESS 57
 ➤
Although the young woman in this
photograph is the center of attention, both
the diminishing line of the pillars and the
blurred foliage add greatly to the overall
mood and composition of the image.

Photographers tend to be-

come fixated on the person
and forget about the greater
context of the image. Ensure
that the background is con-
sistent in both luminosity and
texture. Luminosity goes to
brightness. The background
may be slightly more or less
bright than the subject being
photographed, it all depends
on your taste and the lighting
conditions. But avoid having
extremes within your frame
such as dark spots approach-
ing black or white spots. Such
artifacts will cause the viewer
to turn his attention to them
and not the person. Texture
goes to the real objects that
make up the background. The
background could be a brick
wall, or a forest, both of which
are comprised of textures.
Keep this consistent and avoid
abrupt inconsistent objects.
shade from a tree. You have found a spot under For example, I will often remark at how well a
the tree where the light is both even and low photograph was taken of, say, a family in a park,
contrast. Now it is just a matter of composing only to notice a telephone pole in the back-
the person or people to be photographed. Since ground jutting out of the head of the father. A
the example given is outdoor and not in the simple repositioning of the camera would have
studio, there is an important point to be made. eliminated this. You may be thinking, “But Bill,
Take the time to examine the background. we can just Photoshop that telephone pole out

58 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

Think of the frame as a 3x3 matrix and Try to avoid having an obvious symmetry
in either the vertical or horizontal axis. For
attempt to place your subject at the example, if there is a horizon in the frame, push
point where two lines intersect. it up or down but do not let it fall in the exact
middle.

later!” My answer to that is “Yes, you can. Have Step 3: Position and Pose Your Client
fun doing that.” You are closing the gap between what you see
The rule of thirds suggests that you avoid in your mind as the final image and the steps
centering your subject in the frame. Think of
the frame as a 3x3 matrix and attempt to place
your subject at the point where two lines inter-
sect (indicated by a blue triangle in the diagram
on the right).

➤ Placing the main point of focus of the portrait (usually the face
and, more specifically, the eyes) at a point of intersecting lines
creates a dynamic, visually compelling image.
➤

This image, illuminated with a 5-foot octabox, successfully

depicts a ballerina stretching prior to her dance.

A SIMPLE PROCESS 59
➤

By letting this father and daughter interact without direction, this remarkable portrait was obtained.

that lead to exposing a frame and producing here is that the pose must “fit” the positioning
the image. The person being photographed is of light sources and camera.
now positioned. Regardless of whether you are
working outdoors, indoors, or in the studio, Step 4: Measure Light Sources and
the fundamentals of lighting your client hold Set Camera Controls
true. Place the person in front of the key light Measuring light and setting the camera controls
(e.g., the sun or a strobe) and let it serve as the happens together—so the next step involves
primary source of light. measuring the key light and inputting your
Recall from chapter 2, “Photographing Peo- exposure settings on your camera to allow the
ple,” where we discussed the elements of pos- right amount of light to strike the image sensor
ing. We discussed perspective and angles formed and make an ideal exposure. The key light—
between the person and the camera; how men whether natural (the sun) or artificial (e.g., a
and women differ in the manner in which the strobe) is always the primary source of light;
body is formed and stationed. Now is the time the exposure is always based on the key light’s
to execute posing. The important point to make strength, and any other light sources are

60 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

tech tip White Balance
“White balance” is a term that relates to the accuracy of
colors within an image. For portrait photography, it is vital-
ly important that your camera’s white balance is correct
so that the people in your photographs look correct. By
correct, I mean that the color of their skin, hair, and eyes
depict the actual color; of course, all other colors in the
screen should also be correct. When white balance is
This is a typical Kelvin scale reference, organized by

➤
wrong, the colors are off by either shifting to slightly or-
the type of light source.
ange or slightly blue. The reason for this shift is a discrep-
ancy between the color temperature of the source light
and the white-balance setting of the camera. When steps make fine adjustments to the white balance—but this
are taken to calibrate the camera for the white balance, assumes that the DSLR was set to RAW mode.
the resultant colors in an image are considered correct. Auto White Balance. Auto white balance allows the
Color temperature is measured on the Kelvin scale and camera itself to set the temperature exposure by expo-
is denoted as K. For example, direct mid-day sunlight is sure. If the scene that you’re working in has a single type
approximately 5700K and casts a bluish light, whereas of light source (e.g., the setting sun), then this can work
an incandescent light bulb is approximately 3000K and well. If there are two or more types of light sources (e.g.,
casts a reddish-orange light. If the camera is not cali- fluorescent and tungsten), then it will be difficult for the
brated to conform to the Kelvin temperature of the light camera to achieve correct color.
source, then colors are rendered incorrectly in the image Manual White Balance DSLR. The white balance of
and the photograph will look reddish or bluish. the DSLR can be set by photographing (close to the
The following are simple techniques that can be em- lens) a white or 18 percent gray card while holding a but-
ployed to achieve proper white balance. However, they all ton on the camera that “tells” the DSLR to set the white
depend on one common setting on the DSLR—that the balance accordingly. Refer to your camera’s manual. For
camera is set to RAW mode. By setting the camera to subsequent exposures taken within that scene, the white
RAW mode, you give yourself the opportunity to make fi- balance will be correct; remember to reset the white
nal white balance corrections in post processing (editing) balance when moving on to another scene or shoot.
in such software applications as Lightroom, Photoshop, Manual White Balance Software. Start by using a
and Nik NX2. The following techniques assume that the preset white balance, place an 18 percent gray card in
camera is set to RAW mode. For more on camera RAW, the scene, and take one proper exposure. Now shoot as
see the Tech Tip: RAW Mode. you normally would. When you conduct post-processing,
Preset White Balance. The pre-set white balance editing software such as Lightroom has a function that
setting appear as icons of various light sources, from allows you to indicate the 18 percent grey card within the
the incandescent and fluorescent bulbs, to sunshine, image. Once you indicate the 18 percent gray card, the
and cloudy. These will work, and if you’re in a hurry, they software sets the proper white balance. You can adjust
will get you close. On most DSLRs, there is a K setting all of the other images that were taken in that scene with
that provides the ability to dial in the Kelvin temperature this white balance setting.
as a value. This is the way that I set white balance when When the white balance setting on your camera
working outdoors. For example, when shooting in the matches the color temperature of the light sources in the
mid-day sun, I set the white balance to 5600K; as the day scene, you will see a definite difference in the quality of
progresses closer to sunset, I dial the temperature down your images. The people in your photographs
A SIMPLE PROCESS will 61simply
to match the changes in the sunlight (it gets redder as look better—and we have already established how im-
the day goes on). When I conduct post-processing, I can portant an ingredient that is to portrait photography.
positioned and powered based on the key light. When using a flashgun or strobe, the
There are two ways to measure light to en-
sure that you select the camera settings that will
shutter speed cannot exceed the sync
result in a proper exposure: you can use a light rate of your camera . . .

meter or the trial-and-error

method.
Light Meter. In order to
determine our ideal expo-
sure settings for the scene we
wish to photograph, we must
meausre the key light. To do
this, we begin by entering our
shooting ISO into the meter.
Typically, ISO 100 is used for
bright, sunny days and studio
work. ISO 400 is used for
cloudy days and low-light situ-
ations. ISO 800 is used when
there is very little available
light.
With the ISO set on the
light meter, you can enter
one of the remaining settings
and have the meter determine
the third (missing) setting. I
always input the shutter speed
that I want to use and have
the light meter calculate the
aperture. (Note: The shutter
speed setting determines the
brightness of the background;
the aperture setting controls

➤
As with the similar photo taken during
this project, the young lady added her
own dynamic in both posing and facial
expression.

62 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

➤

A simple pose under the soft light in a park will normally render excellent results.

the brightness of the subject.) If you prefet to subject from the key light is direct (incident)
choose an aperture and have the light meter light. When working outdoors, the light meter
calculate a shutter speed, no problem—but will be set to ambient mode, as the light illumi-
realize when using a flashgun or strobe, the nating the subject from the key light (the sun) is
shutter speed cannot exceed the sync speed of all around the subject.
your camera (1/200 or 1/250, depending on the Once the metter has calculated the third
manufacturer). exposure setting, simply set your camera using
When working in the studio or in another the recommended exposure settings. At this
indoor location, the light meter will be set to point, your camera will be aligned with the light
incident mode since the light that falls on the source for proper exposure. Proceed to step 5.

A SIMPLE PROCESS 63
➤

An example of fashion photography, the simple pose on a bench yields terrific results. An on-camera flashgun was used as a fill light for
this image.

Trial-and-Error Method. If you don’t understand that motion is arrested with faster
have a light meter handy, you can perform the shutter speeds—an important factor when pho-
previous step using a trial-and-error method (it tographing children. Finally, select an aperture.
works quite well!). Recall that lower f-stop settings (e.g., f/2.8)
First, set your ISO. Next, you’ll need to set produce more bokeh but let in more light,
your shutter speed. Take your time and think while higher f-stop settings (e.g., f/22) produce
about the light source. If it is a bright, sunny less bokeh and let in less light. Practice and ex-
day, a shutter speed of 1/200 is a good starting perience will result in your ability to make very
point; if it is a gray sky or you’re shooting in the good initial setting selections. With the ISO,
shade, then start with a shutter speed of 1/100. shutter speed, and aperture set, you are ready to
The shutter speed is responsible for the bright- proceed to step 5.
ness of the background of your portrait—out-
doors, indoors, and studio alike. Practice using Step 5: Position and Set Power to Light
variations of the shutter speed with the same Sources
portrait scene and you will see the difference in The next step involves augmenting the key light
how the background changes as a result. Also such that shadows are softened or eliminated

64 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

as and the light adds some “pop” to the image. Whether in the studio or outdoors, the fill
The fill light is brought in to illuminate the light can be a reflector, an off-camera strobe,
shadow side of the face (and body). or an on-camera flashgun (used very precisely).

tech tip ISO

ISO is an acronym for International Standards Organization. What
is important to you, the photographer, is that the ISO setting on
your camera controls the light-sensitivity of the digital sensor. Most
DSLRs have an ISO range that begins with 100 and continues to
6400 and for some professional bodies, beyond 12000.
The lower the ISO number, the less sensitive the sensor;
the higher the ISO number the more sensitive the sensor. For
example, on a bright, sunny day we would set the ISO to 100. On
a cloudy day, the ISO is set to 400; in dim situations, the ISO is set
to 800 and higher. Increasing the ISO by a factor of two doubles
the sensitivity; each decrease halves the sensitivity. For example,
ISO 400 is twice as sensitive as ISO 200, which is twice as sensi-
tive as ISO 100. This doubling and halving comes in handy when
assessing the lighting for a given environment.
In the DSLR, ISO translates to the amount of amplification that
is performed on the electric current (signal) exiting the individu-
al sensor pixel or photosite once exposed to light. On a bright,
sunny day, so much light energy is present that the signal exiting
the photosite is strong and there is little to no need to amplify.
However, in a dimly lit scene, there is less light energy. In this sce-
nario, the exiting signal requires amplification in order to be useful
for processing and image creation. The drawback is that when
the signal is amplified, distortion is introduced, which in turn dis-
torts (creates noise in) the image; this is called the signal-to-noise
ratio. The greater the ISO, the greater the signal-to-noise ratio.
Engineers try to keep this ratio as low as possible by employing
sophisticated electronic processing in the DSLR.
As a photographer, be aware of this trade-off. Keep the ISO
setting as low as possible. Gather light by opening the aperture or
using slower shutter speeds if the scenario permits. It is easy to
increase ISO to overcome low light conditions, but use this setting
with care in order to maintain the highest-quality images.

A SIMPLE PROCESS 65

➤ Noise was introduced in the bottom photo due to the use of a high ISO
setting.
The rim light can be the sun or a ➤ This photograph was taken in the barracks of a historic fort
near Pensacola, FL. The light was soft and even. The ISO was 200,
strobe used to illuminate the edge of and I shot with a wide zoom. The subject was center in the frame in
order to minimize the anamorphic effects of the lens.
your subject.
The LCD: Seeing Is Believing. Using your
The position and power setting of the fill source loupe and LCD, carefully examine the image
depends on the key light; recall the key is the of the photograph just produced. Zoom in and
primary illuminator and all other light sources pan around, concentrating on the person in the
follow. The rim light can be the sun or a strobe frame. The principle issue here is getting a per-
used to illuminate the edge of your subject. A fect exposure. You must divide the evaluation
rim light is necessarily stronger than the key and of exposure up into two domains: the first is the
the fill; otherwise, it would not be visible. I try person being photographed, the second is the
to use rim lighting as much as possible because background. Let’s begin with the background.
it adds pop, vibrancy, three-dimensionality, and Examine the background and look for proper
interest to the image. exposure. If the sky is a part of the scene, is it
blue, or is it white? If it is white, your image
Step 6: Take an Exposure, then View the is overexposed, and you will need to increase
LCD and Histogram the shutter speed. If the background is dark
The final step is to take an exposure. You will and muddy with little detail, then decrease the
now examine the image that is rendered to your shutter speed. Verify what you see in the image
LCD and the histogram. There are a variety of by examining the histogram. If you determine
modes that are offered by DSLR manufacturers that a change to the shutter speed is necessary,
whereby you can view the image and histogram then repeat step 5 by making the change to the
combined with exposure data or singularly. Use shutter speed.
the mode that best suits you. I view the image Once the background is correctly exposed,
and histogram separately because I zoom in the analysis shifts to the person in the frame
on the image when I do the inspection. The and the aperture setting. Starting with the face,
objective of this step is to critically analyze the determine if the skin appears to have detail and
image (subjective) and the histogram (objective) normal tone. Examine the eyes of the person;
in combination to determine if the exposure is do they look natural, and bright? Are there any
correct. Important note: If you refer to the flow blown-out areas where what you are seeing is
diagram of the six-step process, you will notice white? If the skin looks plastic, the image is
that the act of viewing the image and histo- overexposed, so stop down the aperture to cut
gram is performed to verify the exposure; once the amount of light allowed into the lens (i.e.,
you are comfortable that you have a correct use a smaller aperture/higher f/stop setting)
exposure, there is no longer a need to view the and take another shot; if the skin is dark and the
LCD; your only task at this point is to take as person lacks detail and vividness, the image is
many exposures as you feel are necessary. underexposed, so open up the aperture (choose

66 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

A SIMPLE PROCESS 67
tech tip Histogram
The histogram is a graph of the pixel count of tones in termine if you have the correct exposure. This is where
an image ranging from black to white. What would a your judgment comes into effect. If the background
correct exposure look like in the histogram? Assuming is too bright, then adjust your shutter by increasing
that the scene you are photographing is not predom- the shutter speed; if it is too dark, then decrease the
inantly white or predominantly black, the histogram shutter speed. If the person being photographed has
should look similar to a hill, with the bottom slopes of blown-out skin and your histogram indicates that the
the hill ending neatly in the left and right corner of the image is overexposed, then stop down (choose a
histogram. smaller-size aperture). If the person is too dark, then
If the histogram is predominantly to the left, then open up (choose a larger-size aperture). The goal
the image is underexposed (too little light). If the is to achieve an exposure setting that has the histo-
histogram is predominantly to the right, then the photo gram completely contained inside of the left and right
is overexposed (too much light). Important information boundary as close to the bottom corners as possible.
about the image has been lost in both cases. By ex-
amining the histogram against the image, you can de-
➤

An ideal exposure. Overexposure.

➤

Underexposure.

➤
Due in large part to the pose, this
portrait has a romantic feel.

68 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

➤

A proper exposure results in images that hold detail in the lightest and darkest tones in the image—here, that is evident in the gown and
in the subject’s dark hair.

a wider aperture or smaller f/stop number) to What would a correct exposure look like in
allow more light in, and take the photograph the histogram? Assuming that you are photo-
again. graphing a scene with an average tonal range
The Histogram: Seeing Is Verifying. The (one without a predominance of black or white
histogram is a graph of the pixel count of tones tones), the histogram should resemble a hill,
in an image, ranging from black to white. By with the bottom slopes of the hill ending neatly
looking at the histogram, you can quickly de- in the left and right corners of the histogram.
termine the “correctness” of a digital exposure. Evaluate the image itself and study the data
The histogram objectifies the exposure of an presented in the histogram, then make exposure
image and provides a factual means of verifying adjustments until both the image and histogram
the “correctness” of a given exposure. indicate a proper exposure.

A SIMPLE PROCESS 69
But, what if you have achieved what an on-board flashgun (fill light outdoors), or a
reflector. This is where the artistic side of the
is otherwise perfect exposure, but the equation starts to take shape—one’s ability to
person just doesn’t look idealized? examine the qualitative aspects of the photo-
graph. At this point, return to step 5 and make
adjustments to the way in which light is illu-
As the process flow chart indicates, once minating the person being photographed with
the proper exposure is achieved, you can take either light sources or revised camera controls.
as many images as you like without further
adjustment or delay. Of course, if you substan-
tially move your position, or the position of the
person being photographed, you will need to
return to step 1.
But, what if you have achieved what is
otherwise a perfect exposure, but the person

➤
just doesn’t look idealized? In this case, you Here is an example of a simple pose combined with strong
bokeh.
should alter the position of the light sources. ➤ This is an example of a good pose and good exposure—but
Depending on where you are photographing, the background is questionable. The highlights in the background
this could be a softbox (key light in the studio), detract from the subject.

70 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

4. Outdoor Portraits

As much as I like the controlled environment door environment add such incredible beauty
of a studio, I never get tired of photographing and drama to the overall image. As well, taking
people in the great outdoors. It could be that I photographs outdoors ensures that every project
see a river, a city street, or majestic landscape— is different—even if the same location is used
whatever catches my eye more often becomes in a redundant manner. The seasonal changes
the backdrop for portraiture. Themes and in the environment, weather, and sunlight offer
moods that could originate only from the out- unlimited possibilities.
➤

With an overcast sky, the light was near perfect for outdoor bridal portraiture. All that was necessary to obtain an excellent result was to
add appropriate fill light. An on-camera flashgun was used to add a minimal amount of light.

72 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

. . . we must ensure that the final
image is about the person or people in
the photograph and not the scene.

As we discuss outdoor portraiture, we’ll con-

sider the composition, pose, and lighting, but
without the four walls and roof of a studio en-
vironment. Hence, you will once again be using
the process to move from beginning to the end
of a successful session. Prior to outlining the
process for outdoor portraiture, let’s talk about
the major strategies used when working outdoors.

The Person Is the Central Object

of Your Photograph
Since we are talking about portrait photog-
raphy, we must ensure that the final image is
about the person or people in the photograph
and not the scene (because then we would be
discussing landscape, architectural, or geograph-
ic photography). You may be thinking, “What
is Bill talking about? If there is a person in the
image, then the image is a portrait, and it is
about the person.” Not true. We can and often
do get caught up in an internal conflict in our
creative minds over the person versus the scene.
➤

This engagement photo involves a simple embrace, smiles, and

The reason is simple: unlike the studio, the out- terrific bokeh, resulting in a highly flattering portrayal.

door scene is usually unbound and big. We want

so dearly to capture that scene with our person
in it that the final image can be more about the The Background
scene than the person. I’m not going to declare When choosing the background, I decide up
some magical number or ratio of how much front on one of three types of backgrounds:
space the person should occupy within the close (within 1 to 10 feet), distant (separated by
frame. It’s a judgment call; you know it’s right tens or hundreds of feet), or panoramic. This in-
when you see it. We are in the artistic realm of volves the careful composition of the image, and
photography here. Ask yourself, “Is this about in turn lens selection and creative use of depth
the person or persons? Yes or no?” of field (DOF).

OUTDOOR PORTRAITS 73
tech tip Lens, Aperture, and Depth of Field
Depth of field (DOF) describes both the closest and far- When bokeh is not desired and the goal is to have
thest distances from the lens that remain in focus. Within the subject and background completely in focus, the
the DOF, there exists a precise point of focus. Strictly hyperfocal distance comes into play. For a given aperture
speaking, distances immediately forward and rearward setting, the hyperfocal distance is the closest point of
of the point of focus begin to blur. However, for practical focus to infinity where all objects are in focus. It is rec-
purposes and certainly for photography, objects that ommended that you obtain DOF tables for the lenses in
appear within the DOF are in acceptable focus. your kit and learn how to adjust the lens to the hyperfocal
DOF is inversely proportional to the diameter of the setting. You will then be prepared for both styles of por-
aperture. The larger the diameter of the aperture, the traiture and easily achieve the desired result.
smaller the DOF; the smaller the diameter of the aperture,
the greater the DOF. For example: f/2.8 has a shallow
depth of field, whereas f/16 has a large DOF.
For portrait photographers, DOF is a creative tool that
can greatly enhance interest by separating the subject
from the background. Using this technique, a three-di-
mensional effect is produced with the subject as the
center of interest and visually “popping” off of the page.
In conjunction with the aperture, the focal length
of the lens contributes to the DOF. Given an arbitrary
aperture setting, the shorter the focal length of the lens,
the greater the DOF and conversely, the greater the focal
length of the lens, the smaller the DOF. The property of
a lens to produce shallow DOF and therefore a back-
➤

This diagram depicts the fundamentals of depth of field (DOF).

ground which is out of focus is called bokeh (blur). Thus,
bokeh can be achieved more easily with a focal length
of 200mm versus 35mm. The 70–200mm f/2.8 zoom
lens is very popular with portrait photographers, partially
because of the flexibility of the zoom and the shallow
DOF and bokeh that is achieved.
➤

The relative distances between the camera, person This diagram illustrates the inverse relationship between f-stop and
depth of field.
being photographed, and the background have an
effect on the outcome of the image. Achieving a blurred
background is difficult when the distance between the
subject and the background is small. Unless the DOF is
very shallow, it is likely that the subject and background
will both fall within the DOF and be acceptably sharp. A
DOF table for a given lens helps you to understand the
relationship between focal distance and DOF. Armed
with this information, you will more readily and easily be
able to position your subject at appropriate distances
74 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY
to a given background and achieve the desired level of
bokeh.
➤

This diagram depicts the relationship between the hyperfocal

distance and DOF.
 Close Background. With a
close background, the person
is almost leaning against or
touching the background sur-
face. The background surface
texture and color is in and of
itself interesting to the photo-
graph. For a close background,
I generally use a 35–50mm
focal length lens at upwards of
f/5.6. Whether the orienta-
tion is portrait or landscape, I
am not expecting to blur the
background—the texture and
detail of the background is
important to the photograph.
Backgrounds that work well in
this setup include a barn door,
the front porch of a house, or
➤

All three of these images depict a close background. Note the effect on the subject and
the wall of an urban building. the overall image.

OUTDOOR PORTRAITS 75
76 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY
➤
All three of these images were shot with a distant background. The bokeh varies appropriately as a function of the intended image.
➤

Although the scene is panoramic, the image remains about the subject and can be considered a portrait.

Distant Background. The person is tens of infinite depth of field from the subject to the
feet or more away from the background sur- horizon. In this type of background, the scene
face or surfaces. The background and color are itself is important and adds great context about
interesting but are intentionally blurred—or can where the person is and how they are interacting
be in focus; it’s your choice. In the final image, with the environment. For this type of photo-
there will be very little detail in the background. graph, I generally shoot with a wide-angle lens
For a distant background, I generally use a in landscape orientation with a focal length of
telephoto lens with a focal length greater than 24mm. Examples of panoramic backgrounds
135mm at f/2.8 to f/4. Whether the orienta- include the horizon of the ocean, rolling land-
tion is portrait or landscape, I am intentionally scapes such as the prairies of the midwest United
blurring the background. Examples of a distant States, or the fjords of Scandinavia.
background are a forest, waterfall, and an urban Diminishing Line and the Horizon. When
setting involving a large building. choosing a distant or panoramic background,
Panoramic Background. With a panoramic try to identify artifacts that provide a diminish-
background, the background itself is sufficiently ing line from the person being photographed
far from the person that you effectively have an to a vanishing point. This can be a trail, fence,

OUTDOOR PORTRAITS 77
telephone poles, etc. The result of incorporating graphed fall below the line that is formed by the
a diminishing line is increased three-dimension- horizon.
ality, interest, and greater overall image impact.
Use the horizon sparingly in your portraits, Sunlight
as it normally creates a horizontal line that runs In order to create beautiful and interesting
through everything in your photograph. You portraits in the great outdoors, you must adapt
might opt to blur the horizon if the photo has your equipment to different types of sunlight. I
a distant background. If the image has a pan- used to believe that it was only during the late
oramic background and the horizon is in focus, afternoon that good light (and therefore good
ensure that the person or persons being photo- portraiture) could be had. Not true. The type
and quality of sunlight varies,
but in most cases all sunlight
throughout the day can be
used with great success. I’m
going to define three cate-
gories of sunlight: (1) bright
and sunny, (2) shade from
bright sun, and (3) overcast or
cloudy skies. We’ll discuss each
of these three categories and
how to calibrate both the cam-
era and auxiliary light sources
in each situation to produce
a professional result. If you
haven’t already, read over the
section on light.
Regardless of the category,
remember that sunlight must
evenly cover the person or
persons being photographed.
I cannot emphasize this point
enough; if the sunlight is not

➤ This image shows a great example of a

diminishing line. The road goes off into the
distance to a vanishing point. Along with
terrific bokeh, the young lady practically
pops off the page.
➤
In this image, the sunlight was diffused
by heavy cloud cover. This made for
78 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY extremely soft and even illumination. With a
minor amount of fill light via an on-camera
flashgun, a great glamour image was
produced.
OUTDOOR PORTRAITS 79
➤

With the wedding ceremony over, it was getting late in the day and subsequently dark. My camera settings were ISO 800, f/3.5, and
1
/250 second in order to achieve a good exposure. Why did I shoot at 1/250 second if it was getting dark? I had to choose a relatively fast
shutter speed so that my tired, shaking arms would not blur the shot.

even, the potential beauty of the photograph is Bright and Sunny Sky Techniques. For
greatly hindered, resulting in blotchy, high- high-impact, “wow” portraits, the middle of a
contrast photographs that do not please the eye. summer day provides all of the sunlight your

80 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

 risk. You will have your camera set to ISO 100
for this situation. I typically have the subject
positioned so that the sun is striking them from
an angle somewhere from 15 to 30 degrees to
camera left or right. Without any obstruction,
the person should be covered in high contrast,
specular, bright sunlight—and that is the goal.
However, at midday, the sun is high in the sky,
which is the cause for shadows under the nose,
eyes, and chin. By introducing fill light, we
prevent shadows from being formed under the
eyes, nose, and chin as well as the shadow side
of the body. You can use your on-camera flash-
gun or off-camera strobe.

Fill light was added with an on-camera flashgun.

DSLR can handle; we are talking about the

summer hours of 11:00am to 2:00pm. The
sun is your key light, while the fill will be in
the form of either an on-board flashgun or
remotely controlled strobes. I simply do not
use reflectors, as the chance of reflecting the
sunlight into the subject’s eyes is not worth the

OUTDOOR PORTRAITS 81
82 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY
 Using On-Camera Flashgun. The beach [It] begins with a good educated guess
photo on page 81 was taken with an on-cam-
era flashgun. The ambient light was metered at at what you believe the shutter speed
ISO 100, with a shutter speed of 1/250 second, and aperture should be at a given ISO.
and an aperture of f/8. Neither a UV filter nor
a polarizer was used. The flashgun was set to
maximum power and a FOV of 24mm (wide)
was chosen to match the sun’s illumination on was set to these three parameters. Steps 5 and 6
the model’s face and body. By performing steps involved switching the light meter to incident
5 and 6 two or three times, the correct exposure metering, and placing it under the model’s chin,
was achieved by simply moving closer and closer aimed at the strobe to camera right. The power
to the subject. Since we were alone in 3 feet of the strobe was increased until the light meter
of water 100 yards off of a Florida beach, the read f/13 (equal to the intensity of the sun).
flashgun was the only option for a fill light. The goal was to set the power of the strobe
Using Off-Camera Flash (Mobile such that it would illuminate the shadow side
Strobes). In the next example (facing page), an of the model. The result was an award-winning
off-camera strobe was used. Step 4 was under- photograph.
taken in the following manner: since it was a Step 4 (setting the ISO, shutter speed, and
bright, sunny day, we started with ISO 100 but aperture) could have been performed by trial
chose ISO 200 so that the strobe had a better and error to arrive at the same settings and re-
chance of illuminating the shadow side of the sult. Trial and error begins with a good educat-
model and the aircraft. The ambient light was ed guess at what you believe the shutter speed
measured at a selected shutter speed of 1/250 and aperture should be at a given ISO. Since we
second, and aperture set to f/13. The camera want the background to be exposed properly
(that beautiful blue sky) we choose the high-
est shutter speed that we can sync our remote
strobe to—1/250 second. By repeatedly taking
exposures and examining the histogram, the
aperture was narrowed to a final setting of f/13.
In the next example, the sun is both the key
and rim light. Some may protest or argue about
how the sun can be the key and rim simulta-
neously. My response to this is in the form of a
question: If no fill is used, then what is the key?
The sun, of course! As the key, the sun provides
the ambient light; by positioning the subject
at an extreme angle to the sun so that the sun
illuminates the edge of their body, rim lighting
is produced. The image of the female was taken
➤

➤
Fill light was added with a portable off-camera strobe.
The setup is shown above
OUTDOOR PORTRAITS 83
Unless the subject is young and has a bright, sunny day to illuminate the shadow side.
With the flashgun just 12 feet away from the
perfect complexion, adding fill light is subject, it was discharging at close to maximum
necessary. power—to compete with the sun!
Shady Areas Under Bright Sun. On a
bright, sunny day, good light can be found in
with an 85mm prime lens with an on-camera the shade. Specifically, I look for overhang-
flashgun providing fill. Step 4 involved the tri- ing roofs, breezeways, or deeply inset doors.
al-and-error method of establishing an educated In settings like these, you will find light that
guess, then steps 5 and 6 were used to set the beautifully illuminates your subject. Typically,
flashgun to the proper power. The image of the the sun is on the opposite side of the build-
woman in the sunglasses (below) was made with ing so that the rays of light are indirect. The
a telephoto lens set to a 135mm focal length. diagram on the facing page illustrates what I am
The ISO was 100. The ambient light was talking about. The sunlight is diffused by virtue
measured for a shutter speed of 1/200 at f/10. I of the fact that is not directly illuminating your
used an off-camera flashgun for fill. This image subject. You will notice that as the person being
proves how well the fill light can perform on a photographed moves closer to the edge of the
shadow line, the light starts to change and be-
come harder; moving closer to the depth of the
➤

An on-camera flashgun added fill light.

shadow, the light changes to softer. Where you
place the individual is up to you and involves
the time of day and the reflectivity of the light
on that location. This technique and use of the
sun as your key light renders photographically
dense, colorful, and interesting portraits.
When creating this type of image, once again
the sun is your key light. Normally, there will be
plenty of soft, even light available to illuminate
and flatter your subject. Unless the subject is
young and has a perfect complexion, adding fill
light is necessary. Again, the fill decreases lines,
shadows, and any dark areas under the eyes.
Since the sunlight is indirect, a gold reflec-
tor carefully positioned will also provide just
enough fill light to render a beautiful result.
Since we are on the shadow side of a building
or architectural overhang, the use of a reflector
is okay. If you elect to use a mobile strobe as
your fill, you will employ either a softbox or

84 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

➤

Sunlight was diffused under an overhanging architectural

element.
➤ This image is a great example of soft daylight found on the
shaded side of a building.

beauty dish (both equipped with a front diffu- working under) by adjusting both the power
sion panel), as a minimum of power is necessary and zoom setting of the flashgun. The image of
in this type of lighting situation. If the fill is an the young couple (above) was taken at around
on-board flashgun, it will likewise be set to the 11:30am on a sunny day. They were positioned
lower end of its power range. If the fill is too on the shady side of a large building on a down-
strong, the face will range from being slightly town street. A 70–200mm zoom lens was used
glittery, with kind of a specular metallic quality, at approximately 170mm focal length with a
to blown out. For the face to look natural, you crop factor of 255mm (APS-C sensor). The ISO
must pay close attention when performing step was set to 100, and I chose a shutter speed of
6 and examining the image on the LCD. 1
/200 second. Using my light meter, I measured
When creating an image with this technique, the ambient light where the couple was stand-
I prefer to use an on-board flashgun. This ing; the meter computed an aperture of f/3.5,
equipment configuration provides a lightweight and I set my camera accordingly. Next, using
and flexible solution to adding fill. I can rapidly steps 5 and 6, I determined the power setting of
accommodate the given light conditions pre- the on-camera flash. The camera and flashgun
sented by the sun (and therefore the shade I am were on a tripod roughly twenty-five feet from

OUTDOOR PORTRAITS 85
the couple; the flashgun was set to just above vantage of this natural, soft, and beautiful light.
its minimum power. The result is a remarkably Although not all cloudy days are equal in the
soft, flattering image of the two. In the absence type and quality of light that is produced, this
of the fill, the eyes are not as bright, lines can type of light is the most desirable for outdoor
be seen on the facial skin, and dark areas appear work, as it is a low-contrast and soft light that
under the eyes. will flatter most if not all of your clients.
Overcast and Cloudy Sky Techniques. Once again, the sun is your key light, except
When you see that the sky above is overcast or that now you are working with the largest soft-
cloudy, you should grab your gear and take ad- box on the planet—the overcast or cloudy sky.

This image is a great example of the

use of soft light found underneath an archi-
tectural overhang.
➤
In this situation, the fill was used
sparingly. It does not take a lot of energy to
provide the necessary fill light.

86 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

tech tip RAW versus JPEG
Right up front, I’m going to emphatically recommend If you do set the camera to JPEG, then when you
that you set your camera to RAW (right now), and leave take an exposure, software that is internal to your camera
it there. When you set your camera to RAW, you are will produce a JPEG file. JPEG is one popular image
maximally capturing all that the camera is capable of file standard because it was originally designed to save
sensing (data), registering camera settings (metadata), space by compressing the overall size of the file. The
and storing all of the information with your image file. problem is that the compression is “lossy,” so some data
Conversely, if you set your camera to JPEG (even Fine is lost during compression. It is the “some data” that
mode), then you are both throwing away important data you are losing that you don’t want to lose! Furthermore,
and giving up control over the look of the final image. based on camera settings (which you can change)
Purchasing an expensive DSLR, a great lens, and then criteria such as saturation, brightness, and contrast are
setting the camera to JPEG would be like purchasing incorporated when the JPEG is created. Thus, as a
a Ferrari, and then letting half the air out of all four tires, photographer, when using JPEG mode, you are giving
pulling a couple of spark plugs out of the engine, and up both important data that constitutes your image and
setting the emergency brake on while wanting to go fast artistic control. I have my DSLR bodies set to RAW with
and experience the thrill of Italian automotive engineer- neutral settings. That way, I can make necessary chang-
ing. That wouldn’t make sense, would it? Neither does es in postproduction.
setting a DSLR to JPEG. Although it’s not exactly the same as a film negative, a
RAW files vary by manufacturer. If you shoot with RAW file is the original image which contains both data
Sony, the internal structure of the RAW file will be differ- and metadata at the moment the image was captured.
ent than the RAW file that comes from a Canon body. In this case, data represents the image, while metadata
Despite the fact that there is not an industry standard for represents parametric information such as the ISO set-
RAW, you should start every shoot in RAW and develop ting, shutter speed, aperture, etc. At the completion of a
a process to properly convert your RAW files to final shoot, you should back up or store the RAW image files.
images. In order to perform the conversion, you will Make a working copy of the original RAW file (leaving the
require a software application called a RAW converter. original intact) to do such things as editing and printing.
A RAW converter can either be a plug-in to a bit-map Doing so will ensure that you will maintain a master copy
image editor such as Adobe Photoshop, or a complete of the image for future use.
stand-alone application such as Nik NX2, which is used
specifically for Nikon RAW files.

Depending on the brightness of the light fil- pear flat. Use your own judgment on this point,
tered through the cloud layer, your camera will but I usually quit by late afternoon. I highly rec-
be set between ISO 200 and 400. The light of ommend that you join the camera to a tripod or
this category is best between late morning and strap the camera to your arm and enable vibra-
late afternoon. If you shoot too early or too late tion reduction if your lens is so equipped. The
in the day, the sun will be low in the sky and the reason is that you will be setting your shutter
resulting photos may lack tonal contrast and ap- speed anywhere from 1/60 to 1/200 second, and on

OUTDOOR PORTRAITS 87
88 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY
the lower end of the scale, isolating the camera beach offers a couple of unique challenges that
from vibration will be absolutely necessary in I thought we should address. Normally when
order to avoid blur in the final image. photographing people at a shoreline, we gravi-
tate toward positioning people where the water
Beach Photography meets the land. So, the first challenge comes
What we have just gone over in terms of creat- with the horizon and realizing that a horizontal
ing an outdoor portraiture holds true, but let’s line will show up in the image. If it is a sunny
take a closer look at working at the beach. The day, then there will be an abundance of light

➤
This image was shot on a rainy day in downtown San Diego. The ambient light was soft. The shopping area had plenty of features, and
it was decided that a gray steel wall would be used for the background. I asked the young man to pose in a natural position by leaning
against the wall. ISO 400 was selected, and a shutter speed of 1/100 second was chosen. An ambient light meter reading calculated an
aperture of f/3.2. I set the camera accordingly. Using a 70–200mm zoom, and positioned 20 feet away, I got down low to his knee level. By
repeating steps 5 and 6 twice, I narrowed the power of the on-camera flashgun to just slightly above minimum power and a zoom setting
of 120mm. I took a series of ten exposures, the best of which you are reviewing. It took all of about three minutes to obtain this photograph. I
believe the young man liked it too.
➤

Soft late-afternoon sunlight combined with a prop suitable for children, yielding this image.

OUTDOOR PORTRAITS 89
 ➤
This diagram depicts a typical shoreline beach portrait using
portable off-camera strobe.
➤

Here is the final result, a fashion image. The subject was posi-
tioned below the line formed by the horizon, illuminated by the sun
as the key light, with fill light illuminating the front and right side of
the model.

reflecting off of the sand and water. If it is a

cloudy day, then the sky and water may blend
together, creating a featureless and potentially
uninteresting background. And of course, there
is often wind.
The image above adheres to two guiding
principles. First, the subject was positioned be-
low the horizon. Second, the placement adheres
to the rule of thirds. Taken in the late after-
noon, the sun was approximately 30 degrees
azimuth. The sun was the key light (this can

90 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

be determined by noting the shadows on the Placed just above the subject’s head
sand). To camera left, an off-camera strobe was
used to fill the shadow side. and out of the frame, a scrim was used
Careful use of a 28mm focal length devel- to cut the midday sunlight . . .
oped an interesting perspective with the dimin-
ishing line of the beach and the horizon.
The next image, a dramatic black & white midday sunlight for a softer, more flattering
shot, was taken just moments later. The iden- look. A flashgun set to minimum power was
tical settings and position of the camera were used on-camera to fill the shadows.
used to yield an award-winning photo. Note the diminishing line formed by the
The photograph has a great deal of density. waterline.
Sure, the horizon bisected the photo (that’s a Both the color and black & white image were
no-no), but the strength of the image’s other shot at ISO 100, 1/250 second, and f/8. For
aspects carry the shot. Note that the model was both portraits, I shot with a 70–200mm zoom
placed in the left third of the frame for maxi- lens set to a focal length of 135mm. Using a
mum impact. polarizing filter helped to cut the glare, render
Just out of the frame, an assistant held a more dramatic color (facing page), and add
scrim over the subject’s head to cut the intense drama (below).
➤

Using the identical lighting setup yielded a very different result. She is looking away from the lens entirely, but this image works!

OUTDOOR PORTRAITS 91
 ➤
➤
These two beach images show the differences in how the sun is
harnessed as the key light. The couple standing in the Gulf of Mexico was un-
derneath a scrim, which greatly softened the sunlight. The young lady sitting
on the beach in Destin, FL had the setting sun illuminate her, without a mod-
ifier. In both situations,
an on-camera flashgun
was used to ensure the
shadows were removed.
The diagram shows the
setup used for the photo
at the bootom of the
page.

92 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

➤
This is a typical yet effective setup used to diffuse sunlight
at the beach. The glare of the sun was removed, leaving soft,
even light.
➤

(left and right) The result of using a scrim is a pleasing

portrait.

OUTDOOR PORTRAITS 93
 The next image (below), taken moments exposure was f/5.6 at 1/250 and ISO 200. While
before the sun hit the horizon, is an example I used a wide-angle zoom, I made sure that any
of the beautiful light that exists at sunset. With bending or stretching of the model was kept to
the sun as the key light,an on-camera flashgun a minimum.
was used for fill, which enhanced detail on the Whenever possible, avoid blowing out the
on the left side of the model. The result is a sky. The sky should have some hue of blue and
dynamic image of pose and context (taken on the detail of clouds if they are present. On a
the North Shore of Oahu, HI). sunny day, set the ISO to 100 and choose a
To capture this photograph, I used a shutter speed of 1/250 second; your aperture will
17–35mm zoom at a 17mm focal length. The be a function of exposing your subject correctly.
As we previously discussed,
your fill provides the illumi-
nation to the shaded side. In
the final image in this chapter,
both the sky and the person
being photographed are prop-
erly exposed.

➤
Although this image was taken in the
portrait format, I consider the photograph
to be panoramic. Your eye is first drawn to
the model resting in the sand, then upward
to the surf, and then on to the beautiful sky.
The image looks best rendered in black
& white.
➤ Taken at high noon, and thirty minutes
prior to sunset, the sky has color, texture,
and adds greatly to the context of the
images.

94 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

OUTDOOR PORTRAITS 95
5. Studio Portraits

The Studio as a Workspace the studio, on location, and outdoors, and it

Perhaps the most important aspect of a studio provides the ability to precisely measure the
environment is control. Whether you are using a light that is illuminating your subject. I believe
basic set of equipment or the most sophisticated that it is important to know how to use a light
lighting and camera controls, the studio is a ter- meter, but it is not imperative to use one. For
rific domain in which to express your creativity. me, relying on a meter means that I can work
With so many companies offering quality studio more efficiently and eliminate guesswork or
equipment, the choices are staggering. Products ensure that I have a light ratio set correctly. But,
range from entry-level strobes and softboxes to to be perfectly honest, after a while, you will get
computer-controlled lighting and sophisticated to know your lighting equipment and cameras,
backdrop systems. I’m going to give most if not and using relative settings will become a natural
all of it a big thumbs up. But let’s assume that habit. With the proper use (i.e., analysis) of the
you are just starting out, have a limited budget, LCD and histogram, calibrating the camera and
and want to create great photos in your studio. lighting equipment becomes straightforward—if
The studio that we are going to talk about not easy.
does not have windows, nor skylights; we’ll dis-
cuss those in chapter 6. The size of your studio Lens Selection
is an important factor in what you will be able Earlier, we discussed that in the studio, the
to achieve on portrait projects. The length of choice of lens and focal length must take into
the room is the boundary condition for the lens account the distance between the person being
focal lengths that can be properly used for head- photographed and the camera, whether it be a
shots, three-quarter, and full-length images. head shot, three-quarter portrait, or full-length
The diagram on the facing page is representative image (which in turn is a function of the size
of the point. of your studio). We should be thinking about
this because in smaller studios, there is a ten-
Incident Light Meters dency for photographers to choose a wider lens
The light meter is set to incident mode. An (17–30mm) to get that full-length image. In
incident light meter is a very useful tool in my opinion, this is not a good idea. Yes, there

96 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

➤ This photo was taken with a 105mm
focal length lens at a distance of 15 feet.
➤

This photo was taken with a 24mm

focal length lens at a distance of just under
10 feet. Notice that her features appear
distorted and disproportionate. Note the
difference.

➤ When photograph-
ing a person of average
height (5 feet, 7 inches),
you’ll need to shoot at
the focal lengths shown,
at each given distance, STUDIO PORTRAITS 97
to ensure there is suffi-
cient space surround-
ing your subject.
Careful use of focal lengths of 50mm,
85mm, and 135mm produce pleasing
results with little to no distortion.

are creative modes, but we are discussing the

fundamental aspects of portraiture. You might
be thinking that using a wider lens will place
you closer to the subject and thus translates to
a smaller room or space. You could do this, but
then you run the risk of anamorphic error of the
person being photographed, resulting in bend-
ing and twisting their form.
Focal lengths ranging from 50mm to 200mm
work very well. Careful use of focal lengths of
50mm, 85mm, and 135mm produce pleasing
results with little to no perceptible distortion to
the person being photographed. The diagram
on the previous page illustrates the relationship
between focal length and the relative distance
from lens to subject—given a nominal height of
the person being photographed.

Strobes
A strobe is a flash tube that provides an on-
demand intermittent source of light. Strobes are
efficient at taking stored energy and releasing it
in the form of a brief burst of light (e.g., 1/1500
second). Strobes typically range in power from
300 to 1200 watt/seconds and can be used in
any combination that you may require. A watt/
second is a rating of the amount of energy re-
➤

leased by the strobe. I wouldn’t get hung up on An 85mm prime lens was used for this beautiful image.

this. I use 600 watt/second strobes, and they

provide more than enough light. May I suggest Strobes can be used with or without light
that if you endeavor to photograph large scenes modifiers. Recall that our goal as portrait
with many actors, then 1200 watt/second photographers is to idealize the appearance of
strobes may be required. the person being photographed. Unmodified

98 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

strobes produce harsh light. We must modify rip-stop nylon). This combination of opaque-
(soften) that light in order to make it usable. To ness and surface area results in diffusing the
do so, we use a softbox or an umbrella placed light passing through; the greater the surface
in front of and attached to the light source. The area, the softer the light. Strobes are activated
softbox and umbrella both have material which by a wired or radio frequency (RF) trigger or
is slightly opaque (typically made of plastic or electric cable from the camera, or from the light

STUDIO PORTRAITS 99
tech tip Focal Plane Shutter and Flash Synchronization
Focal plane shutters are positioned right in front of the shutter speed that can synchronize to an on-camera
sensor (or film) onto which the focal plane of the lens flashgun is 1/250 second. If a faster shutter speed is
is focused—hence their name. The shutter is a me- in use, such as 1/500 second, the curtains are moving
chanical device that controls the amount of time that sufficiently fast that as they draw to a close, they block
light is exposed to the sensor and is constructed of the light given off from the flashgun. The result is a
two distinct curtains (front and rear), which on DSLR black, unexposed area in the frame. In most cases, it
bodies open and close vertically. The front curtain is the rear curtain that is the culprit.
opens, light exposes the sensor, followed by the When using slower shutter speeds, the type of
immediate closing of the second curtain. The amount synchronization may be important to how you want
of time that the curtains are open is a function of the the final image to look. Since the shutter is open for a
shutter speed set on the camera. Typically, we think longer period of time (say, for instance, 1/30 second),
of shutter speeds in fractions of a second. However, movement will be caught in the frame. Front-curtain
shutter speeds can be set to long exposures of many sync involves firing the flashgun or off-camera strobe
seconds or even minutes. The shutter speed time the moment that the front curtain has opened. This is
increment on an DSLR (and SLR) body is a factor of the recommended mode for most situations. Move-
two. The following diagram illustrates this point. ment that happens after the flash fired but prior to the
Flash synchronization or sync refers to the fastest rear curtain closing will blur forward motion. Rear-cur-
shutter speed that can be used with on-camera tain sync involves firing the flash just prior to the rear
flashgun, or off-camera strobe. Flash sync is set on curtain closing. Movement that happens before the
the DSLR body. It is during the period of time when flash has fired is blurred rearward motion. This is a
both the front and rear curtains are open that a flash good thing to know if you are creating an artistic ef-
may fire, successfully illuminating the person being fect. However, for most of my portraiture work, I prefer
photographed. On most DSLR bodies the maximum not to have motion blur of any kind.

➤
This diagram depicts the doubling and
halving of light based upon shutter speed.

of another activated strobe. For the convenience strobe unit. When you press the shutter release
of unobstructed mobility, I recommend and use of your camera, a signal is sent from the RF unit
RF triggers such as PocketWizard. One RF de- on your camera’s hotshoe to the RF unit con-
vice is placed in the hotshoe of the camera body, nected to the strobe; the signal tells the strobe
while the second is connected to an individual to fire. Additional strobes can be “slaved” by

100 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

enabling their optical sensor; this causes the When working on location (and in the
“slaved” strobe to fire when it senses the light
from a strobe. studio) umbrellas are a very good light
modifier.
Softboxes
A softbox is a terrific piece of equipment to use
in the studio. The greater the surface area of
the front panel, the softer the light. The specu- used. The first approach involves using the um-
lar light emitted from the strobe is distributed brella as a reflector. In this method, the strobe
across a large surface and is diffused. The closer is aimed away from the subject and emits light
the softbox is placed to the subject, the softer directly into the umbrella; light is then reflect-
the light. I usually get funny looks when this ed from the inside of the umbrella back at the
last sentence is stated. It is true. The farther subject. It has been my experience that when
you pull a light source away from a person, used as a reflector, the umbrella offers a slight
the smaller it becomes, and therefore the more amount of “sizzle” to the overall look of the
specular. The opposite is true as the light is portrait. By “sizzle” I mean specular highlights
moved closer. across the subject’s skin, eyes, teeth, and hair.
Feathering the Light. By placing the soft- This should not be confused with hardness of
box at an angle to the person being illuminat- light. This effect is especially useful when your
ed, you “feather” the light. A softbox can face goal is a high-contrast, bright, exciting image
perpendicular to the subject, but you may find (for example, fashion magazine work). Note:
that by rotating the box left or right such that The interior of an umbrella may be rip-stop ny-
the panel is facing away from the person being lon alone or coated in a white or silver surface.
photographed, the light changes in a way that Each surface will offer more and more “sizzle”
is good. Sometimes, the light that is coming off respectively.
the edge of a rectangular or square softbox is The second method involves the umbrella as
perfect. Experiment with this—be aggressive— a shoot-through, where the strobe is aimed at
and in all likelihood, something very cool and the subject and light passes through the um-
creative will result. brella onto the subject. Functionally, using an
umbrella in this way is just like using a softbox.
Umbrellas Although I use umbrellas only occasionally,
Both softboxes and umbrellas gather and direct when I do, I prefer to use them in the shoot-
the light source into a uniform beam of light. through mode because I prefer the soft light
When working on location (and in the studio) and the final result.
umbrellas are a very good light modifier. To Note: For the remainder of this book, I will
the photographer who is just getting started, discuss studio and location lighting using one or
umbrellas are both easy to use and are typically more softboxes. The only reason for this is that
less expensive than the softbox counterpart. I prefer the softbox as a tool in the studio and
There are two ways in which an umbrella can be on location. However, where a softbox is used,

STUDIO PORTRAITS 101

so too can an umbrella! The process of setting can modify the setups that I define with the use
up the camera, light modifiers, and pose does of one or more grids. I encourage you to exper-
not change. iment and study the differences for yourself.

Grids Reflectors
A grid is an important tool that functions to A reflector is an important tool in the studio
narrow or “focus” a light source. Typically, and is a source of light, albeit indirect. Reflec-
grids come in two forms: metal and cloth. tors are commonly used as a fill light and often
Metal grids attach to a metal reflector which provide just enough indirect illumination from
is attached to a strobe. Cloth grids attach to the key light to achieve the desired contrast
a softbox, which is attached to a strobe. Both ratio on the face. Knowledge of the angle of
types of grid serve to reduce, if not eliminate, incidence helps when positioning a reflector.
stray light while at the same time aligning a nar- Basically, the angle that the light strikes the re-
row, controlled beam of light. A grid is either a flector (the incident angle) is the same or equal
honeycomb or checkerboard pattern with some to the angle of the reflected light (the reflected
depth or thickness, both of which serve to align angle). Thus, the angle of incidence equals the
the light in one uniform direction. When a grid angle of reflection.
is employed, a definite “edge” of light will be
created; this is very useful. Try thinking of it Flags
this way: a flashlight emits a light that is an Flags block light. Whenever the need arises to
outward cone, while a laser pointer emits a block stray light that is either interfering with
parallel beam. A grid functions to alter the light the lighting of the person being photographed,
from a strobe so that it is less like a flashlight or perhaps causing a flare in the lens, a flag is re-
and more like a laser pointer. quired. There are no rules here. Place the flag in
I use grids when illuminating hair, or in the a position that arrests the unwanted light, mak-
case of creating rim lighting when I need strict ing sure, of course, that it is out of the frame.
control over the dispersion of light. While grids
are an important and useful tool to the studio Backdrops and Props
and location photographer, to stay within the There are a multitude of commercially available
scope of this book, I’m not going to emphasize backdrops and props that you can choose from.
the use of grids. As you read the chapters on Certainly, your style of portraiture will play an
studio and location photography, note that you important role in determining what you employ,
but I do have a couple of suggestions that may

➤
Learn to imagine or visualize how light will reflect off of a sur-
face. This will greatly decrease the time required to set up reflectors
and strobes and will allow you to more efficiently position your
subject.

102 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

help. Until you get to the point where you have variations dependent upon the lighting setup
developed your niche, there is a basic set that that you apply. I will argue that you will learn
won’t fail. Purchase 10-foot-wide paper rolls more quickly about the way that light behaves
of black, dark gray, white, red, and blue (one in the studio by experimenting with these five
each). I leave it to your taste as to the shade paper rolls combined with classic posing than by
of red and blue! You will need a good stand using more elaborate (and expensive) designs
to hold the roll to a height of 8 to 10 feet off and props. As you gain an understanding of
the floor surface. Obtain a simple chair for an lighting (and gain confidence), you can add
adult and one suitable for a child. You’re done. more elaborate backdrops and props that appeal
With this basic backdrop and prop set, you to your taste and style. I believe this approach
can photograph headshots, three-quarter, and will quickly get you to the point of rewarding
full-length portraits. You have five different portraiture that is made in your unique style.
backdrops that will offer wonderful and exciting

tech tip Light Ratios

As has been stated previously, the key light is the In the next example, the fill is reduced in power. An
primary illuminator. A lighting ratio describes the dif- incident meter reading is taken, and the fill light now
ference in luminosity between the key light and other measures f/5.6. The difference between f/8 and f/5.6
lights in use. is one full stop. Therefore, the fill light is half of the
In the first example, an incident meter reading is luminosity of the key light. The ratio between the two
taken from the key light; the result is f/8. The key is lights is 1:2. Shadows are now being managed.
now established as the numeral 1. Whatever the meter In the final example, a rim light is introduced to
reading of the key light is, it is always denoted as 1. An create a highlight on the subject’s hair. The key and fill
incident meter reading is taken of the fill light and it settings remain the same. An incident meter reading
too measures f/8. Since the ratio of key light to fill light is taken, and the rim light measures f/11. Therefore, the
is equal, the light ratio between the two lights is 1:1. It is rim light is twice the power of the key light. The ratio
unlikely that a photographer would use this light ratio, between the two lights is 2:1. The ratio of the overall
as the face would lack shadow and definition. setup is 2:1:2.

STUDIO PORTRAITS 103

➤

With a 1:1 ratio, very little if any dimen- A 1:2 ratio will provide contrast and three Adding a rim light to the 1:2 ratio setup
sionality will be produced. dimensions, for added interest. will result in a 2:1:2 ratio. The resulting image
will have contrast, dimensionality, and “pop.”
 Light Ratios
➤

Short lighting.

A light ratio is a mathematical description of

Camera Support the variance in brightness (contrast) of two or
We talked earlier about the importance of a more light sources. Used mainly in the studio,
tripod. In the studio, you should get in the a light ratio helps to objectify the goal of the
practice of mounting the camera to a tripod or project. By doing so, you are making a decision
camera support. First and foremost, decoupling about how to illuminate the person being pho-
you from your camera allows you the freedom tographed. This is in keeping with the idea of
to work with the person being photographed. composing a mental image (step 2) and working
Secondly, the positional relationship of camera toward that goal. Certainly, if a 2:1 light ratio is
to subject within a lighting setup starts to be- decided up front, then light is measured toward
come second nature. Finally, the frame-by-frame that goal, and strobes are set accordingly, rather
outcome of the shoot (proof sheet) will have a than a trial and error method (nothing wrong
consistent, professional appearance. with that). By using light ratios, the project may
When creating portraits in the studio, my be better documented for review at some future
exposure settings are often ISO 100 at 1/200 sec- time, or used for the purpose of communicating
ond and f/10. Once you get the hang of this, a lighting setup to other photographers.
feel free to set the camera to whatever makes
you happy. These settings work well for me.

104 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

Portrait Styles High-key portraiture typically involves
This is an area of portraiture that is deserving
a brightly lit scene where there is little
of a book to itself. I’m going to cover just two
standard lighting styles, short and broad light- to no contrast or shadow . . .
ing. I consider both of these to be “contempo-
rary” styles—styles that the consumer both likes
and identifies with. Some of the portrait styles, Short Lighting. Short lighting is achieved
such as Rembrandt, are a little too contrasty for when the light strikes the side of the face that is
my taste, and I simply do not hear the demand farthest from the camera.
from my clients. I prefer low-contrast images Broad Lighting. Broad lighting is achieved
that are cheerful and bring out the best look of when the light strikes the side of the person’s
the person in front of my camera. The following face closest to the camera.
two portraiture styles, broad and short light- High Key. High-key portraiture typically
ing—and supportive lighting techniques—are involves a brightly lit scene where there is little
flattering to the subject and appeal to the con- to no contrast or shadow side on the face and
temporary market. body of the person being photographed. High-
➤

Broad lighting.
➤ This image was taken as part of a commerical project. The STUDIO PORTRAITS 105
images produced were to be used in print and web media on
white pages/backgrounds. Thus, a high-key setup was employed
to ensure that models’ surroundings were rendered white.
I typically use a 5-foot octabox
connected to strobes that are rated
at 600 watt/seconds.

key portraiture works very well with children

and families. The results are dynamic, specular,
detailed images. Without a doubt, high-key is
my favorite approach; I find that the expressive
qualities of the person being photographed can
easily be captured and even exaggerated.
I typically use a 5-foot octabox connected to
strobes that are rated at 600 watt/seconds. Fill
light is driven by the same strobe with a 24x36-
inch softbox. Although not absolutely necessary,
a 6-foot octabox is employed as an additional

➤
(top) This tyke posed in front of a 10-foot roll of white paper.
➤
➤ The young lady and gent were asked to stand/lean against a
wall in the studio. I used the key and fill lighting described above.
➤

A typical high-key lighting setup. This setup produces images

with a dynamic, energetic feel.
STUDIO PORTRAITS 107
. . . you can darken and brighten the the selection of ISO 100 with a shutter speed
of 1/125 second at f/11, and the camera is set
backdrop by increasing and decreas- accordingly. The light meter is set to incident
ing the shutter speed . . . mode, placed under the chin of the subject, and
aimed at the key light, which is metered to f/11
while both fill lights are measured and read 1/3
fill light and set 20 feet from the backdrop and stop below f/11, which is f/10. This is a very
behind the camera. I generally do not use a rim bright situation! If a rim light were to be used,
light for this type of project because there is it would be positioned to illuminate the edge of
already sufficient light, but a rim light could be the subject and metered to a full stop above the
added. To keep the light falling off the subject key at f/13. I generally use 50mm, 85mm, and
to a minimum, the subject is placed close to 105mm prime lenses, as well as a 70–200mm
the backdrop and in some cases is asked to lean zoom for this type of work.
against a wall in the studio. Mid Key. Mid key portraiture typically in-
Steps 1 through 3 have been performed. The volves a moderate level of contrast and accentu-
selection of backdrop (normally white), props, ates the shadow side of the face and body of the
position, and pose are complete. Step 4 involves person being photographed. Mid key is almost

➤
Try filling the frame completely, as was done in this image. The
result is a very personal essay of the subject.
➤

Typical middle-key lighting setup. This approach is excellent for

general portraiture such as corporate headshots.

108 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

➤ Children will surprise and amaze you
with their personalities. This mid-key image
is neither demure nor exaggerated. Down
the middle, the image is bright but has
detail and density.

universal in its use. The result

of a well-executed mid key
image involves color density,
beauty, and less specular high-
lights than that of a high-key
equivalent.
For this type of image, I
employ a 5-foot octabox as
the key light and a 24x36-
inch softbox as the fill light.
Certainly, a rim light can be
used. Recall that the shutter
controls the brightness of the
background. For mid and low
key, pay attention to how you
can darken and brighten the
backdrop by increasing and
decreasing the shutter speed
of the camera. Furthermore,
the position of the subject in
relation to the backdrop for a
given light source also has an
effect on the brightness of the
backdrop. This involves the
inverse square law. (If you’re
interested in this technicality,
review the Inverse Square Law
Tech Tip.) the subject, and aimed at the key light, produc-
Steps 1 through 3 of the process have been ing a reading of f/8. The fill is metered to be
performed. The selection of backdrop, props, between one full stop below the key, at f/5.6.
position, and pose are complete. Step 4 involves Steps 5 and 6 involve moving and feathering the
selecting an ISO of 100 with an initial shutter key and fill lights, then analyzing the exposure
speed of 1/125 second at f/8. The light meter is to ensure that the desired contrast on the face
set to incident mode, placed under the chin of is achieved. I generally use an 85mm prime lens

STUDIO PORTRAITS 109

 for this type of work, as this lens offers excellent fill in this case was a silver reflector to cam-
bokeh resulting in a beautiful blurring of the era right; set initially to f/11, the rim light, a
backdrop. strobe with a grid attached, added highlights
Low Key. Low-key portraiture involves to the hair. Blond hair and brunette hair (and
high contrast that defines and exaggerates the
shadow side of the face. Low-key portraiture
works well with adults when the goal is to create
a compelling or demure image. Low-key images
are often interesting because they have a myste-
rious quality. Black & white nude images are a
good example of the use of low-key lighting—
although there are no examples of nudes in this
book! Generally, I find low-key images to be
beautiful and involving, with a timeless quality.
There is an abundant creative space with low-
key lighting. The images on pages 111 to 113
are examples of low key. A diagram of the setup
is shown on the right.
Steps 1 through 3 have been performed. The
selection of backdrop, props, position, and pose
are complete. Step 4 involves the selection of
ISO 100 with a shutter speed of 1/200 second at
f/8. The light meter was set to incident mode
and was placed under the chin of the subject
➤

Typical low-key lighting setup. Use this technique when your

and aimed at the key light, yielding f/8. The goal is to create drama, depth, gravity, or a moody feel or theme.

tech tip Inverse Square Law

Relative to photography, the Inverse Square Law means image. The formula reads: the intensity of light is 1 divided
that as you double the distance between a light source by the distance squared. At 5 feet from the light source,
and the person being photographed, the light intensity the intensity of light is calculated to be 1/25; the same light
is reduced by one fourth. Another way of thinking about source at 10 feet has a calculated intensity of 1/100, or four
this relationship is that by doubling the distance, four times less.
times the light intensity will be required for an equivalent When photographing large groups where there may
exposure. This is a good thing to know, especially in the be two, three, or more rows of persons in the scene, em-
studio. When doing studio work, the way that light “falls ploy the inverse square law. By setting the camera and
off” of a subject is an important artistic feature in the light source at a greater distance, the relative difference
image. For example, a male being photographed 5 feet in the intensity of light between the people in the first row,
from the key light, while the backdrop is separated from as opposed to the people in the last row, will be minimal
the key110byESSENTIAL
10 feet, receives four times the light than that
ELEMENTS OF PORTRAIT PHOTOGRAPHY
and you will produce a better image of all those involved.
of the backdrop. Simply separating the subject from the
backdrop can make a dramatic change in the look of the
➤ This is a great example of a low-key, full-length portrait.
➤

Additional examples of low key portraiture.

STUDIO PORTRAITS 111

If your analysis indicates proper key light, then during step 5, adjust the power
according to how you want the hair to look.
exposure, then take all of the creative (Remember, step 5 involves both moving and
images necessary . . . feathering the key light and the reflector in
order to achieve the desired contrast on the
face.) Take an exposure (step 6) and analyze the
no hair) reflect light differently. Thus, there is histogram and image. If your analysis indicates
no hard-and-fast rule for the power setting of proper exposure, then take all of the creative
a rim light. Set it to one stop higher than the images necessary; otherwise, return to step 5.

A typical low-key headshot.

➤
This high-school senior brought his
saxaphone to the shoot. This added au-
thenticity and interest in the image.
➤ By allowing your clients to express
themselves, as this woman did, unique and
interesting results will produce indelible
images.

112 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

STUDIO PORTRAITS 113
6. Indoor Portraits

From time to time, you may be required to dio. Indoor locations include a client’s home, a
produce portraits indoors, but without the con- reception hall during a wedding, or perhaps the
trolled predetermined environment of the stu- foyer entrance to a hotel. Producing profession-
al images in this type of domain can be a chal-
lenge. The good news is that the fundamentals
we have discussed do not change. A key light
is required, with fill and rim lighting added if
the space allows you to position the equipment
properly. Since we have gone over fundamental
studio portraiture, I’m not going to repeat the
information in this chapter. Instead, I’m going
to concentrate on two specific techniques that
will increase the quality of your images. I use
both of these techniques frequently. In both
cases, all that I require is my camera and an
on-camera flashgun; this is a lightweight, agile
solution. I can move with relative ease, allowing
myself more time to dedicate to steps 1, 2, and
3. With a little bit of imagination and practice,
you will be able to assess an indoor environment
and quickly adapt your equipment to produce
beautiful portraits.

➤
To light this image, a portable strobe with a 5-foot octabox was
placed just to camera left. Note the distortion in the vertical plane;
she is slightly stretched. However, I had no choice in the matter, as
my back was literally against a wall. I believe this to be a successful
image.

114 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

➤

This diagram shows the relationship of the angle formed by the on-camera flashgun and the incident light, which forms the basis for key
and fill lights.

Reflecting Light Off the Ceiling providing soft light to remove shadows with the
Reflecting or “bouncing” light off of a surface fill. It takes some practice. Remember that the
such as a ceiling is an excellent means of illumi- incident angle is equal to the reflected angle.
nating the person being photographed. Pro- After performing this operation, you will get
vided the ceiling is white or at least very close better and better at judging what angle and
to white, you effectively have a large softbox power setting are required given the distance
suspended over your subject. The reflected from the subject and the height of the ceiling.
light takes on a soft, wraparound effect that is Rest assured, it works!
pleasing to the eye. I use an on-camera flashgun This might sound radical—a key and a fill
placed at an angle such that the light emitted from one on-camera flashgun? Yes, it is both
is “split” between the ceiling and the person efficient and effective. The black & white image
being photographed. The flashgun acts as a key of the bride on the following page was made
and fill light simultaneously. The precise angle using this technique. The bride was standing
to which the flashgun is set is a function of the in a hallway with a ceiling height of approx-
distance between the camera and the subject, imately eleven feet. The camera height was
and the height of the ceiling. The power setting approximately three feet off of the floor. Using
of the flashgun is set by trial and error. I find the process, step 4 involved choosing an ISO of
that it normally takes two or three trial images 400, a shutter speed of 1/125 second, and an ap-
to get the power and angle correct. The goal erture of f/4 using the trial-and-error method.
is to brighten the subject with the key, while Steps 5 and 6 involved adjusting the angle of

INDOOR PORTRAITS 115

The fill light, an on-camera flashgun, rect. The portrait was taken during a wedding
reception—there was neither sufficient time nor
was set to the absolute minimum room to set up strobes and softboxes. With my
power. camera and flashgun in hand, the image was
taken quickly.

Using a Window as the Key Light

the flashgun (similar to moving the position of Quite often, sunlight that penetrates a window
light sources) until both the reflected light from provides beautiful, soft light. In this situation,
the ceiling and direct light to the face were cor- the window represents the key; the window
pane itself is similar to a
softbox. Either on-camera
flashgun or off-camera strobes
(with softboxes or umbrellas)
are used as the fill source. For
this image, step 4 involved
using an 85mm prime lens.
The trial-and-error method
was used to arrive at ISO 800,
a shutter speed of 1/100 second,
and aperture of f/2.0. The
fill light, an on-camera flash-
gun, was set to the absolute
minimum power. Steps 5 and
6 involved angling the flash-
gun away from the subject to
provide just enough fill light
to eliminate dark shadows on
the face.
In the next photograph
(facing page), the woman was
posed in a theater lobby. Step
4 involved selecting an ISO
of 400 and a shutter speed of
1/80 second at f/3.2. With a
shutter speed of 1/80, I decided

➤
By setting the angle of the on-camera
flashgun to both bounce light off of the
ceiling and directly illuminate the bride, a
116 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY great bridal portrait was produced.
➤ Window light served as the key light in
the image. The exposure was ISO 800 at
1/100 second and f/2.0.
INDOOR PORTRAITS 117
it was a good idea to mount the camera on a tri- thereby eliminating shadows under the eyes.
pod. At a distance of 10 feet from the subject, a Great care was taken to frame the individual in
35mm prime was used with on-camera flashgun the center of the field of view of the 35mm lens
for fill. Steps 5 and 6 involved arriving at a final to minimize any bending. I think I pulled it
power setting on the flashgun, which provid- off—you be the judge.
ed the precise amount of fill light (very little),
➤
By bouncing the light from my
on-camera flashgun with just the right split
in key and fill light, this terrific image was
an impromptu capture, made in under two
minutes.
➤ This mid-key portrait exudes beauty
and emotion due to the soft light, pose, and
personality of the bride.

118 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

INDOOR PORTRAITS 119
7. Practice, Practice,
Practice
Now You Are Ready! to produce professional indoor and outdoor
We have covered a wide range of topics con- results. With the addition of studio equipment,
cerning portrait photography. With the five you have been introduced to equipment and
pieces of equipment that comprise the basic techniques that will result in dynamic and
portraiture photography kit, you are ready to go exciting studio portraits. Is there more to learn?
to work. We have covered the use of the DSLR, Absolutely! There is so much to photography
flashgun, and light meter sufficiently for you that I believe it is a lifelong learning endeavor.
In the digital age, computer equipment, sophis-
ticated bit-map editing software, workflow, and
web presence are just a few of the supportive
elements to creating images.

Follow the Process

Use the six-step process introduced in chapter 3
whenever you are conducting a portrait ses-
sion. The process represents a stable, repeatable
approach to controlling the variables of compo-
sition and pose, camera exposure, and lighting.
Take the time to evaluate sources of light; de-
termine and use the best light possible—don’t
settle for average light. Ensure that you create
a mental image of the photographic work. The
mental image provides an objective that you
work toward. This keeps the portrait shoot
manageable and aligned—you are less likely to
veer off course and lose your way.
To improve your ability and efficiency in
positioning and posing your subjects, develop

➤
These kids were not shy, and a great image was captured
simply by following the process and taking a burst of exposures.
➤ With Mom and Dad in place, the family portrait was completed.
PRACTICE, PRACTICE, PRACTICE 121
122 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY
➤ This young lad was a natural in front
of the lens. A 5-foot octabox served as
the main light, and the resultant image
produced from this low-key lighting arrange-
ment won praise from his parents.
➤
Here’s another example of how well
simple poses work.

your communication skills. Whether you are to varying degrees. It’s normal. The point to be
working with a family, children, or top models, made here is to try to avoid getting caught up
posing them properly is a function of your abil- in a photograph; rather, attempt to look at your
ity to communicate effectively. Work diligently own work as though it is produced by someone
toward achieving an exposure that idealizes your else. Give the image a thorough “scrubbing.”
subject. The people in your photos should look Review the elements of composition, pose,
terrific, with beauty, detail, and emotion. Avoid lighting, and exposure critically. Ask yourself,
acceptable and push yourself toward phenomenal! “Is this photograph the best that it can be?” If
the answer is yes, then hopefully, you have com-
Review Your Work with a Critical Eye pleted the task. If the answer is no, then strive
It is difficult to see one’s own works of art the to overcome the issue as you move forward with
way that others do. I believe this is true due to future projects and clients. The act of critically
a built-in bias that we have prior to and during reviewing your work, evaluating what could
the creative process. The bias comes in the form have been done better, and then doing better is
of excitement, emotion, and varying degrees of a form of continuous improvement which will
experience both artistically and technically. For result in you creating better and better portraits.
example, upon reviewing a photograph that you
took a couple of years ago, you may find that it Editing the Digital Image
doesn’t meet your current standards or expecta- Photoshop, Lightroom, and NIK NK2 are just
tions. Perhaps the composition is off, or the im- three of the outstanding, powerful editing tools
age is underexposed. Interestingly, you did not available on the market. I use Photoshop to
see any issues back then, but now that you do, complete 100 percent of my portrait editing
you have a pretty good idea of what you might tasks. However, as a photographer, the majority
do to shoot that photograph differently. We all of your time should be spent behind the cam-
experience this form of dissonance with the past era. Editing should be kept to a minimum.

PRACTICE, PRACTICE, PRACTICE 123

 ➤
This young and amazingly talented
musician had so much personality that
capturing it was easy.

The following is a short list of five functions I shoot in RAW, making a final white balance
that I preform when editing digital portraits: adjustment is simple and easy. See the Tech
Tip on white balance for additional informa-
1. I save my RAW file in TIFF format. TIFF is a tion on this topic.
lossless file format. This means there is little 3. Step three entails making a local brightness/
to no compression when the image is opened contrast adjustment. On a layer in Photo-
and resaved, so there is no notable impact on shop, I make adustments to local objects
image quality. As TIFF files are not impacted (i.e., background, subject’s clothing, sky) by
by a compression algorithm, the files are large increasing or decreasing subject brightness—
in size. I complete all of my editing, printing, but only by a tiny amount. If more intensive
and image archiving in TIFF format. changes are necessary, it is likely the image is
JPEG files are much smaller than TIFFs, improperly exposed and should be rejected.
as a compression algorithm is used every time 4. Step four requires the retouching/removal
the image is saved. JPEG files are appropriate of blemishes, stray hairs, and fine lines. When
for Web/Internet media, e-mailing images creating a photograph as described in this
to family and friends, and general printing. book, you the photographer have limited
Bear in mind, however, that JPEG files do control over the person’s facial attributes.
not contain all of the image information that Although careful attention should be paid to
TIFFs do. hair and makeup, often you have no control
2. My second step is to fine-tune the white (e.g., sometimes the wind will disrupt your
balance in the portrait. For an image to look subject’s hairstyle).
its best, white objects in the image must be When removing a blemish or stray hair,
rendered as pure white. Without a correct a light touch is required. Good retouching
white balance, the white tones will have a skills are acquired with practice. There are
reddish-orange or bluish color cast. Because countless books, articles, workshops, and

124 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

 webinars devoted to the art of retouching. I involved in this scenario. Provided that the cost
recommend that you invest the time required of admission is not harmful to you financially,
to learn, practice, and master your technique. may I suggest that you make the investment? By
5. Straightening and cropping the image are doing so, you can significantly accelerate your
my final step. When photographing people, learning curve, hang out with people who share
my intention is to perform an in-camera your passion, and raise the bar on your portrait
crop so that the captured image is the final photography skills.
image (aside from light white balance and
retoching is concerned). Despite your best A Short List of the Photographers
efforts, though, you will find that there are Whom I Admire Most
times when the lines of the image just are not Ansel Adams
perfectly level. Cropping can correct for this Helmut Newton
error. Henri Cartier-Bresson
Saudek
One final point about editing: Don’t overdo it.
Be careful not to change the size or proportion
➤
By converting this image to black & white, the textures of
of the subject. I personally and professionally apparel, hair, and instrument are exemplified. The pose, again, is
feel that this is a big no-no. straightforward and simple.

Recall the point that I made early on in the

book: The photographer’s job is to idealize the
subject—to make them look their very best. For
me, it is imperative that the person appears ab-
solutely authentic, real, and devoid of evidence
that you performed any modifications.

Attend Workshops and Seminars by

Great Photographers
If you had the opportunity to play tennis with a
world-class tennis professional, the odds are you
would become a much better tennis player. The
corollary with photography and photographers
holds true. Socialize with other photographers
who are performing above your current level
of performance. Observe how they conduct
themselves, handle the equipment, and interact
with people. Don’t be afraid to ask questions—
any and all questions—in order to gain a full and
complete understanding of an issue that is im-
portant to you photographically. Money is often

A SIMPLE PROCESS 125

Index

A E softboxes, 7, 29–30, 32, 48,

Adobe Photoshop, 11, 58, 61, Equipment, 14–32, 48, 50, 52, 49, 50, 52, 54, 55, 70,
87, 123–24 56, 61, 63, 64, 65, 66, 84, 86, 96, 99, 101,
Adobe Photoshop Lightroom, 70, 72, 78, 81, 83, 84, 102, 106, 109, 115,
123 85–86, 87, 89, 91, 92, 116
Ambient light, 25, 26–27, 63, 94, 100, 102–3, 108, stands, 31–32
83, 84, 85, 89 109, 110, 114, strobe, 7, 8, 9, 26, 27, 28,
Aperture, 15, 22, 23, 48, 61, 115–16, 118, 120 29, 30, 32, 48, 49,
62, 63, 64, 65, 66, 69, backdrops, 29, 31, 56, 54, 55, 60, 62, 63, 65,
74, 83, 87, 89, 115, 102–3 66, 83–84, 91, 96,
116 battery packs, 28 98–101, 102, 104,
DSLRs, 14, 15–17, 20, 22, 106, 110, 114, 116
B 24, 25, 26, 61, 65, 66, tripod, 15, 23, 25–27, 31,
Backdrops, 29, 31, 56, 102–3 81, 87, 100, 120 85, 87, 106, 118
Backgrounds, 73–77 flags, 29, 30, 31, 102–3 umbrellas, 29–30, 32, 48,
Battery packs, 28 flashgun, 15, 23–24, 26, 32, 52, 55, 99, 101–102,
Broad lighting, 105 46, 50, 63, 64, 65, 70, 116
72, 78, 83, 84, 85–86, Exposure, 9, 25, 32, 66, 68,
C 89, 91, 92, 94, 100, 69–70, 83, 85, 96, 112
Camera. See DSLRs. 114, 115–16, 118, histograms, 25, 66, 68,
Critique, 123 120 69–70, 83, 96, 112
light meter, 24, 26–27, 29, LCD panel, 25, 32, 66, 85,
D 62–63, 74, 83, 85, 89, 96
Depth of field, 23, 40, 73, 74, 96, 108, 109, 110, 120
77 loupe, 15, 24–25 F
DSLRs, 14, 15–17, 20, 22, reflectors, 10, 28, 29, 30, 32, F-stops. See Aperture.
24, 25, 26, 61, 65, 66, 49, 65, 70, 81, 84, Fill light, 10, 28, 29, 30, 32,
81, 87, 100, 120 101, 102, 110, 112 48, 49, 65, 70, 81, 84,
scrims, 27–28, 91, 92, 93 101, 102, 110, 112
Flags, 29, 30, 31, 102–3

126 ESSENTIAL ELEMENTS OF PORTRAIT PHOTOGRAPHY

Flashgun, 15, 23–24, 26, 32, L Shady areas, 84–86
46, 50, 63, 64, 65, 70, LCD panel, 25, 32, 66, 85, 96 Short lighting, 105
72, 78, 83, 84, 85–86, Lens selection, 20–23, 26, 74, Shutter, focal plane, 100
89, 91, 92, 94, 100, 96–97 Shutter speed, 15, 62, 63, 64,
114, 115–16, 118, 120 Light meter, 24, 26–27, 29, 65, 66, 68, 80, 83, 84,
Flash sync, 62, 63, 83, 100 62–63, 74, 83, 85, 89, 85, 87, 89, 94, 100,
96, 108, 109, 110, 120 108, 109, 110, 115,
G Light ratios, 29, 96, 103, 104 116
Group portraits, 9, 32, 37, 55, Location portraiture, 114–18 Softboxes, 7, 29–30, 32, 48,
110 Low-key lighting, 56, 110, 111, 49, 50, 52, 54, 55, 70,
112 84, 86, 96, 99, 101,
H Loupe, 15, 24–25 102, 106, 109, 115,
Hair, 8, 10, 25, 32, 37, 54, 55, 116
61, 69, 101, 102, 103, M Stands, 31–32
110, 112, 124 Mid-key lighting, 6, 37, 61, Strobes, 7, 8, 9, 26, 27, 28,
High-key lighting, 105–6 109, 118 29, 30, 32, 48, 49,
Histograms, 25, 66, 68, 69–70, 54, 55, 60, 62, 63,
83, 96, 112 N 65, 66, 83–84, 91, 96,
Horizon, 40, 46, 59, 77, 78, Nik NK2, 123 98–101, 102, 104,
89, 90, 91, 94 106, 110, 114, 116
O Studio portraiture, 96–113
I On-camera flash. See Flash Sunlight, 78–89
Image editing, 11, 58, 61, 87, Off-camera flash. See Flash.
123–24 Outdoor portraiture, 72–95 T
Image sensor, 16, 18–19, 20, Tripod, 15, 23, 25–27, 31,
48, 60, 65, 85, 101 P 85, 87, 106, 118
Incident light, 25, 26–27, 63, Panoramas, 23, 73, 77–78, 94
83, 102, 103, 108, Posing, 37–46 U
109, 110, 115 Props, 56, 102–3, 108, 109, Umbrelllas, 29–30, 32, 48, 52,
Inverse Square Law, 109–10 110 55, 99, 101–102, 116
ISO, 15, 25, 62, 65, 66, 80,
81, 83, 84, 85, 87, 89, R W
91, 94, 104, 109, 110, RAW files, 61, 124 White balance, 29, 61, 124,
115, 116 Reflected light, 25, 54, 101, 125
102, 115, 116 Window light, 116
J Reflectors, 10, 28, 29, 30, 32,
Workshops, 124, 125
JPEG files, 87, 124 49, 65, 70, 81, 84,
101, 102, 110, 112
K Rim light, 49
Key light, 48, 50, 60, 63, 64,
70, 84, 90, 102, 103, S
109, 112, 114, 116 Scrims, 27–28, 91, 92, 93

INDEX 127
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