FOXCROFT ARTS
  • Home
  • Photography
    • TOPICS in Photography >
      • Exposure >
        • Depth of Field
      • Composition
      • Genres >
        • Abstract
        • Environmental
        • Motion
        • Nature & Landscape
        • Photojournalism
        • Portraits
        • Still Life
      • Photoshop >
        • Masking
        • Blending Images and Text
        • Photomontage
        • Duotone
        • Symmetrical Designs
      • Research Topics >
        • Early Photographic Inventions
        • Cameraless Photography
        • Modernism
        • Cross-Cultural Explorations
        • Women of Vision
        • Photographer Quotes
        • Careers
  • Photojournalism
  • Yearbook
    • Yearbook Topics
    • Yearbook Vocabulary
    • Yearbook Staff Positions
    • Senior Pages
    • Online Ad Creation
  • STEAM
    • TOPICS in Design >
      • Elements and Principles
      • Gestalt
      • Visual Hierarchy
      • Functions in Art & Design
      • Illustrator
      • Design History >
        • Monument Design
    • TOPICS in STEAM >
      • STEAM Research
      • STEAM Challenges
    • TIL@FXC
  • Engineering
    • TOPICS in Engineering >
      • Engineering Olympics
      • Engineering Vocabulary
      • Project Partners
      • STEM@FXC
    • EPICS@FXC
  • Get Inspired
    • Research Links >
      • Art Criticism
      • Themes & Artists
      • History of Visual Arts
    • Mind Mapping
    • Artist Statements
  • Get Involved
Picture
Camera Settings and equipment for portraiture:
  • Lens – What camera lenses you choose when photographing people can completely change the look of your images, and the person (none is right or wrong, but knowing the effect each lens will have on your image will allow you to make the appropriate choice for the look you wish to achieve)
    • ​​Zoom Lenses / Telephoto Lenses isolate and compress perspective (subject will appear isolated, or separated from the background)
    • Wide-angle lenses have an inclusive effect and enhance perspective (they make objects appear farther away, adding a feeling of depth)
ZOOM LENS (75-300mm)
Picture
WIDE ANGLE LENS (10-28mm)
Picture
Picture
  • Shooting Mode –  manual  (use light meter, but understand its limits - bracket with overexposures and underexposures as needed)
  • Focus Mode – autofocus, set it to a single point and use back button focus (hold the shutter down halfway to focus on the main subject in the center, recompose, and then then press the shutter all the way down)
  • Drive Mode – single shot (set to timer for self portraits or use cable release)
Picture
  • Aperture – between f/2 and f/4 for a single subject (get the background out of focus) or f/5.6-f/8 for groups.
Picture
  • Shutter speed – at least 1/60th handheld, or 1/15th if you subject is still and your camera is mounted on a tripod (and you're not photographing kids!)
    • Remember:  Lower shutter speed = more light but your subject may be blurry / higher shutter speed = less light but possibly a sharper subject 
Picture
SETTINGS: ISO 400 | f/4.5 | SS 1/125
Picture
SETTINGS: ISO 200 | f/1.4 |SS 1/30
Picture
  • ISO – use 100-400 if possible (for richer clarity), increasing the ISO allows for faster shutter speeds (stopped motion), and decreasing it allows for slower shutter speeds (blurred motion)
    • Remember: Lower ISO = less light sensitive (better for bright outdoor lighting)/ Higher ISO = more light sensitive (better for low indoor lighting)
  • Tripod – use one when you and the subject aren’t moving (allows for more precise framing)
  • White balance – choose the appropriate preset for the lighting conditions or do a custom balance.
https://www.digitalphotomentor.com/10-camera-settings-equipment-tips-portrait-photography/
https://www.digitalphotomentor.com/how-to-choose-right-lens/
https://clickitupanotch.com/shooting-in-manual-the-basics/
https://clickitupanotch.com/natural-light-mistakes/
NATURAL LIGHT
​
 
Whether it’s indoors or out, natural light photography offers an unparalleled beauty that is difficult to replicate.

Indoor Natural Light Portrait
This is a portrait of someone taken indoors using only non-electric sources of light (a fireplace, candles, the sun, etc). People can be arranged near a window.  Tripods can be used for self-portrait mode.


Outdoor Available Light Portrait
These are portraits taken on location using available light and backgrounds, which are often referred to as environmental portraits. What the photographer gives up in control they get back in authenticity (seeing a subject in their own environment).  The photoshoot may be candid, in which the subject is not aware you're taking a photo (or does not appear to be aware).


Environmental Portrait

An environmental portrait is a photograph of a person executed in the subject's usual environment, such as in their home, and typically illuminates the subject's life and surroundings. ​

ARTIFICIAL  LIGHT

Indoor Traditional Studio Portraits
Studio Portraits give the photographer more control over the placement of light, objects and subject. Light and posture can be used creatively to show mood, attitude, energy and emotion.

A Studio Portrait is a photograph of a person or group of people that captures the personality of the subject by using effective lighting, backdrops, and poses inside the photographer's studio.
Picture
Picture
What is a softbox? 
A softbox emulates the soft, directional lighting usually produced by natural window light. It softens and diffuses the lighting from the attached light source by transmitting the light through a diffusion panel.  When placed close to a subject, it produces very soft, yet directional light.  A softbox controls the shape and direction of light more than an umbrella and prevents more light-spill from occurring. Softboxes, since they are generally rectangular, also have the advantage of being able to produce natural-looking light by mimicking the shape of a window.  a softbox will produce a wider, flatter, and more even type of light that lessens the intensity of shadow edges and has less directionality than umbrella light

What is an umbrella?
The umbrella provides a broad and soft light source that closely emulates outdoor lighting. Unlike softboxes, which give you directional control, umbrellas produce a more unrestricted type of lighting that will pretty much go everywhere.  You need to point the outside part of the umbrella at your subject so that the light passes through the translucent material, making it much softer. Unlike the reflective umbrella, the light produced with the shoot-through is slightly easier to control.  An umbrella’s curved shape will produce light with more apparent directionality and more pop to the edges of the shadows.
Picture
Picture
  • The Bokeh Effect

​
REASEARCH TOPIC: Key light vs Fill light


7 Portrait Photographers You MUST Know

1. Sally Mann
2. Diane Arbus
3. Cindy Sherman
4. Yousuf Karsh
5. Helmut Newton
6. Irving Penn
7. Annie Leibovitz
Source: ​https://www.lightstalking.com/7-famous-portrait-photographers/

More Portrait Photographers

Digital:
Naoko Wowsugi
Andy Gotts
Steve McCurry
Cynthia Henebry
Dina Goldstein
Herb Ritts
Chang W. Lee
Steven Casanova
Dominique Munoz
Mark Seliger
Dan Winters
Douglas Kirkland
Carrie Mae Weems
Martin Parr
Jeff Wall
​Film:
Richard Avedon
Henri Cartier-Bresson
Julia Margaret Cameron
​Mary Ellen Mark
Lewis Caroll
Harry Callahan
Edward Curtis
Philippe Halsman
​Frank Horvat
Antonin Kratochvil
Dorothea Lange
Doug Dubois
Alec Soth
Danny Lyon



Angus McBean​
​Alfred Steiglitz
Robert Frank
Gordon Parks
Walker Evans
Garry Winogrand
Lee Friedlander
Henri Cartier-Bresson
Vivian Maier
Helen Levitt



Source: The Best Portrait Photographers to Inspire You


​Self Portraiture
A portrait where you are both the subject and the photographer is a self portrait. A tripod is used to stabilize the camera in conjunction with the camera's self-timer. It's okay to use a mirror if it is used artistically, but please avoid holding the camera at arm's length, this isn't instagram! Pay careful attention to lighting and composition.

Cindy Sherman, 1980's


​'Vivian Maier, 1950's
Picture

​Malkovich, Malkovich, Malkovich


Faceless Portraits
Portraits do not have always be of the head and shoulders. In some cases, hands, hair, clothing, posture, or other aspects of a subject can tell us as much or more than their face can. ​Without the face, it's easier to for us to place ourselves, our friends, or our family members into the image, into the story. It leaves room for interpretation and keeps the image mysterious enough for me to want to look harder and longer.

  • National Geographic Faceless Portrait Submissions
  • ​How to Capture Faceless Portraits
More Portrait Photography Ideas and Techniques

Conceptual Portraits:

Picture
For a number of years, Michals worked in commercial photography, working for Esquire and Mademoiselle, and he covered the filming of The Great Gatsby for Vogue (1974). He did not have a studio. Instead, he took portraits of people in their environment, which was a contrast to the method of other photographers at the time, such as Avedon and Irving Penn.
In 1968 Michals was hired by the government of Mexico to photograph the 1968 Olympic Games. In 1970 his works were shown at the Museum of Modern Art in NYC. The portraits he took between 1958 and 1988 would later become the basis of his book, Album.
In 1976 Michals received a grant from the National Endowment for the Arts. Michals also produced the art for the album Synchronicity (by The Police) in 1983, and Richard Barone’s Clouds Over Eden album in 1993.
Picture
Duane Michaels,  (b. February 18, 1932) is an American photographer. Largely self-taught, his work is noted for its innovation and artistry. Michals’ style often features photo-sequences and the incorporation of text to examine emotion and philosophy, resulting in a unique body of work.
Michals grew up in McKeesport, Pennsylvania. In 1953 he received a B.A. from the University of Denver. In 1956 he went on to study design at the Parsons School of Design with a plan to becoming a graphic designer, however he did not complete his studies. In 1958 while on a holiday in the USSR he discovered an interest in photography. The photographs he made during this trip became his first exhibition held in 1963 at the Underground Gallery in New York City.
Picture
Michals (b. 1932) has continually rebelled against and expanded the documentary and fine art traditions. At the onset, he baffled critics who knew not what to say of his work, rejecting the notion of the “decisive movement,” the supremacy of the sensational singular image, and the glorification of the perfect print. As an expressionist, rather than going out into the world to collect impressions of the eye, he looked inward to construct the images of his mind, exploring the unseeable themes of life, death, sensuality, and innocence.

Shooting mostly Tri-X in available light, he’s maintained a simple process all these years, whether it was for his personal work, or for the commercial work that supported it—the LIFE magazine cover, the ad campaigns for Microsoft and Pampers, an album cover for the Police. Once a radical outlier, now a father of dominant trends, he inspired generations of photographers from Jim Goldberg and Cindy Sherman, to the countless others staging, scribbling over, and painting on their photographs today.

“Photography deals exquisitely with appearances, but nothing is what it appears to be”. – Duane Michals, 1966

Source: https://oxfordschoolofphotography.wordpress.com/tag/duane-michals/
Powered by Create your own unique website with customizable templates.
  • Home
  • Photography
    • TOPICS in Photography >
      • Exposure >
        • Depth of Field
      • Composition
      • Genres >
        • Abstract
        • Environmental
        • Motion
        • Nature & Landscape
        • Photojournalism
        • Portraits
        • Still Life
      • Photoshop >
        • Masking
        • Blending Images and Text
        • Photomontage
        • Duotone
        • Symmetrical Designs
      • Research Topics >
        • Early Photographic Inventions
        • Cameraless Photography
        • Modernism
        • Cross-Cultural Explorations
        • Women of Vision
        • Photographer Quotes
        • Careers
  • Photojournalism
  • Yearbook
    • Yearbook Topics
    • Yearbook Vocabulary
    • Yearbook Staff Positions
    • Senior Pages
    • Online Ad Creation
  • STEAM
    • TOPICS in Design >
      • Elements and Principles
      • Gestalt
      • Visual Hierarchy
      • Functions in Art & Design
      • Illustrator
      • Design History >
        • Monument Design
    • TOPICS in STEAM >
      • STEAM Research
      • STEAM Challenges
    • TIL@FXC
  • Engineering
    • TOPICS in Engineering >
      • Engineering Olympics
      • Engineering Vocabulary
      • Project Partners
      • STEM@FXC
    • EPICS@FXC
  • Get Inspired
    • Research Links >
      • Art Criticism
      • Themes & Artists
      • History of Visual Arts
    • Mind Mapping
    • Artist Statements
  • Get Involved