Black and White Portrait Photography: Made Easy

When I started out as a young photographer back in the sixty's, just about all images in advertising were shot in Black and White and we use to work mostly with large view cameras sizes 5x4 inch, half plate, whole plate and 10x8 inch, using B/W sheet film made by Kodak and Ilford.

We also use to shoot with Medium Format cameras such as the "Hassleblad" SLR. and the "Rolleiflex" TLR, format size 6x6 cm. using Black and White film stock Ilford HP3 and HP4, also Kodak Tri X, 120 size roll film.

There were no Point and Shoot Digital Cameras or Compact cameras and color negative film was so expensive to buy and even more expensive to process and print, most times it just wasn't used and the quality was poor.

Side Note: Just about all weddings back then, were shot in Black and White and with Medium Format cameras and haven't you noticed to day just how exceptional it is to see a creative Wedding Photographer adding a few images in Black and White to his wedding shoot. In my opinion all weddings are made for Black and White photography, after all the Bride is in white and the Groom is in a dark suite.

How then did we shoot color images in the studio for advertising and fashion. We used exclusively Kodak Ektachrome sheet film. Around this time Kodak introduced Kodak Ektachrome to 120 size roll film and of course good old Kodachrome slide film had been around a while. The problem with making a print from a Kodachrome slide was it was very expensive and the quality left much to be desired. Meanwhile Kodak Ektachrome Sheet Film, was the only quality colour film available at the time and still is one of the best quality colour transparency films around to day.

So whats so special in shooting in Black and White, simply put, It's just so refreshing to see an image that is not in bright and sometimes unnatural colors and the beauty of the image is in the tonal range from whites to blacks, which evokes a mood which is hard to capture when you look at bright colors.

For example if you shoot a Portrait Head Shot with a white or plain background, carefully lighting the subject, you are really only going to see a creation of an image whare the character or beauty of that person shows without confusing it with color.

So lets examine ways to shoot Black and White Portraits, Fashion or figure shots.

WHAT YOU'LL NEED:

1. Film Camera. 35mm. SLR or Medium Format size 6x6cm.

2. Black and White film. Kodak T.Max 100 ASA. or Ilford HP4.

3. Soft-Box or Umbrella attachment for a Studio Flash.

4. Reflectors.

5. Tripod.

6. Model.

WHAT TO DO:

You have two choices for shooting you Model in Black and White, we will keep the details short as there will be other resources you can follow up with at the bottom of this page.

a) Studio: Setting up and working in your home studio, (or hired studio).

b) Outdoors: Working outdoors on a fine warm day.

STUDIO: Set up your flash with a soft-box or umbrella attachment, positioned to the side of your camera, approximately at a 45 degree angle to the subject.

Always work with a tripod, this is how the Pros do it and they know a thing or two!

Set up a large reflector the other side of the camera and fix a second light facing into the reflector as a bounce light to fill-in the shadow side of the model. I would be wise to have an additional small reflector below the models head to reflect light up under the models chin.

You may also require additional lights to light up the background and a clip light to clip the models hair.

Check your exposures by using a stand-in model. After some experimentation find the right balance and correct exposures my making these tests a day or two before you plan the actual shoot, so eliminating mistakes on the big day.

OUTDOORS: Now this is a whole lot simpler and just about anybody can produce great shots without the necessity of expensive studio flash equipment.

You will however, need a fine warm day and you will be working outside in the SHADOW of the building.

Seat your Model facing whare the majority of whare the light is coming from, making sure that the sun is not falling on the model.

Place a white card, size 1 meter by 70 cm. available at you local art store, behind the models head as a white background.

Then place two other white cards, one each side of the model, reflecting light back into the subjects face.

It's also a good idea to have your model seated in front of a table on which you have also placed a white card. This lights up any shadows under the models chin.

The camera must be set on a tripod so you can then carefully control your image. Remember you are creating a beautiful picture, not taking snaps of your kids, be professional and you images will look professional also.

You can improvise setting up your background, I usually use the garden broom and rake... But do make sure that you support the reflectors and background with a strong tape in case of a sudden gust of wind.

Now you have just set up your DAYLIGHT STUDIO...

Find a good quality B/W Lab, yes they still exist, and it's worth paying extra for this kind of work. Avoid taking you processing to the High St, 1 hour photo lab.

The results will astound you and you will surely impress you model too.

With some persistence and experimentation, you will prefect your own technique with the shots and soon start producing masterpieces.

By the way, the usual attention to the Models hair and make-up is also needed, keeping in mind that you don't have to over do the make up for B/W photography.

While shooting your model with your Daylight Studio set-up, you can create some great images for your portfolio in the same way the great photographers of the past use to and in the way that all photography started out... Black and White...

4 Portrait Photography Tips That Exploit Your Prime Lenses To Photograph Stunning Portraits!

Portrait Photography Tips #1 -The Disadvantages of Using A Prime Lens

The main disadvantage that photographers encounter when photographing portraits with prime lenses is the lack of flexibility as you cannot move with your camera.

A very good example is when a photographer is shooting models on the runway during a fashion show. At a very limited time, the photographer has to shoot images of complete and three-quarter length shots.

Also, photographers will have to shoot tighter portraits of every model. This is hard to do with a prime lens.

Portrait Photography Tips #2 - Important Techniques

A) Lighting Conditions

I normally set my camera to Aperture priority when photographing outdoor portraits. This happens a lot provided the lighting condition is good.

I would also have the aperture set to two stop down from wide open as this results in a more shallow depth of field.

There at times when the lighting conditions aren't too good.During these times, I'd shoot one stop down from the widest aperture available.

Otherwise, I may shoot wide open if I am positive that the lens works very well.

B) Focus The Eyes

Another very helpful tip to taking stunning portrait photographs is to focus on your subject's eyes. I normally choose a focus point that's on the top of the frame, either the left or right one. After that, I would lock focus and then recompose. Finally, I'd make the shot.

Here's something to bear in mind; be extremely careful and do it right when you focus on your subject's eyes. It is very common that photographers accidentally focus on the subject's eyebrows rather than his/ her eyes.

Portrait Photography Tips #3 - The Power Of Prime Lenses

A huge range of focal lengths in a single optic are made available with modern zooms. Companies or people who design lenses work with a single focal length. Hence, chromatic aberration or distortion is minimized.

However, designing zoom lenses can mean that compromises are often times necessary. This means that prime lenses usually give much better results to the similar focal length on a zoom.

Portrait Photography Tips #4 - Get Close And Shoot Quickly!

Do you want to know what the two most important factors are to me when it comes to portrait photography? The first important tip is to not be shy and get close to your subjects. Second, make sure that you shoot quickly.

Whenever your subjects notice you approaching them to take a shot, they'll look at the camera. This creates a sort of interaction that involves eye contact when your subjects look into the camera. Hence, never be afraid of getting near your subjects to photograph them.

Finding the Perfect Portrait Lens For Your DSLR

Image : http://www.flickr.com

I'm a portrait photographer. So I get asked a lot about what cameras and lenses the portrait photographer should be using. And while I'm a true believer that any lens can be a portrait lens, what we're looking at here is trying to find the 'ideal' lens that should be the first one you reach for when doing portrait work. So what we'll examine here is the 'why' behind the lens of choice for the majority of portrait work. This is a lens that will routinely work in a variety of situations and produce outstanding results. Let's get starting with some of the key features to look for in your choice.

1: FOCAL LENGTH. This is always step one. A good starting point is to take the diagonal measure of the film or sensor your camera uses and multiply it by two. For example, the film diagonal of a medium format square camera is about 80mm. The diagonal of the film is used to determine the focal length of a 'normal' lens. I believe the reasoning is that a lens of that length gives us a 'normal' perspective when made to 8 x 10 and viewed at arms length, but don't quote me. In the above instance, a typical lens length for portraits is 160mm. And it seems that all makers of square format lenses just happen to make a 150mm lens that all portrait photographers own. Translating that to the 35mm format, we'd come up with a 100mm lens, and it also seems that for years 35mm camera makers have made a 105mm lens. Coincidence? I don't think so.

Now you can see that if we look at the 'perfect lens' for digital, our sensor size must be taken into consideration. If it's a full frame camera, then we can use the same thinking that applies to the 35mm format. If the sensor is only half the size or less, that must be taken into consideration. For example, the Nikon D 80 camera chip is about two thirds the size of a 35mm frame, so the lens 'conversion factor' compared to 35mm is 1.5. That means that a 100 mm lens on a 35mm camera becomes a 150mm lens on a camera with a 1.5 conversion factor. Now that I've taken the time to explain the relationship between film or sensor size and focal length, let's just stick with 35mm format and you can do your own interpolating later depending upon what camera you own.

Now that that's out of the way, what's the reasoning behind the longer than normal focal length for typical portraits? There are actually a few reasons for it. First, there is perspective. The perspective you have in a photo is dependent upon how close you are to the subject, not the lens. Take a few images on a tripod of the same subject and keep changing the focal length. While some images will have more in them than others, the perspective remains the same. However, to include the same subject at the same size means moving the camera. Walk up to a friend, get two inches from his nose, close one eye, and look. You're seeing what a wide angle sees in close. Back off six feet and look through a paper towel tube, there's your long lens. So a longer than normal lens allows us to keep some distance between ourselves and our subjects, giving us a pleasing perspective. And by keeping that distance, our subject is also more comfortable than if we shove a camera up his nostrils, so the longer length now accomplishes two objectives - a pleasing perspective and subject comfort.

Now we're going to throw in another nice feature - angle of view. The longer the focal length, the narrower the angle of view. For example, a 28-200mm lens has an angle of view of about 74 degrees to about 12 degrees. Naturally, the longer the lens, the less is included in the image, and the easier it is to isolate your subject on a background and crop out distracting elements. Is this all starting to seem quite logical? Good, let's look at some other factors.

2: LENS SPEED. In studio portraits, lens speed is usually not that critical, since you may be shooting at f/5.6 or smaller. Outside, on location, and for weddings, you want the fastest lens you can get. No matter what your shooting aperture, it's always nice to have it as bright as possible so both your eyes and the camera can focus better.

3: ZOOM LENSES. It used to be that prime focal length lenses were much better than zoom lenses because they don't have to make the many compromises needed in the design of a zoom. While that's still true, lens technology is now so advanced that the gap is very tiny. So in practical terms, a quality zoom will fit the bill for most photographers. A zoom offers many focal lengths and allows you to crop the image in camera so that you can maintain optimum image quality. One other note, if at all possible, try to buy a lens that is a continuous f/stop as opposed to those that vary with focal length, it will make your life easier and your exposures more accurate when manually metering.

3: OTHER FACTORS. Here are a couple of other factors to consider in your search for the perfect lens. Based on my limited testing, if you're digital, buy the lenses made for digital cameras. Film and sensors do not focus the same way, I see a considerable difference using digital lenses. Another consideration is the blade shape of the lens diaphragm. Some are designed to make more of a circle, so your out of focus highlights assume a pleasing, circular shape. Also, a Vibration Reduction lens will cost you more but also allow you to shoot handheld about two stops more than the standard issue. If you do mostly outdoor and location portraits, I'd suggest it.

4: THE PERFECT LENS. Taking all of the above into consideration, I'll take a couple of stabs at the 'perfect' lens. For 35mm and full frame digital, there are 70-200mm f/2.8 lenses with VR that seem pretty close to perfection. There are also 55-200mm digital lenses that have variable apertures, pick them if cost is an issue. A shorter and lighter lens, like a 28-75 or 80mm, is nice to have when you are working in tight quarters or when the weight of the longer lenses becomes an issue. On my wish list for the future? A 50 to 300mm VR f/2 lens that you can throw in your pocket and buy for $400. Read this three years from now and you probably won't thing it's so ridiculous!

SHOOTING F/STOPS. While the lens you use has f/stops from about f/2.8 to f/22, for portraiture you'll probably settle on a couple of favorites. Since not all of you have studios, let's look at how you'll be shooting outdoors.

My zoom lens goes to f/2.8 but most of my shooting is done between f/2.8 and f/5.6. I find that these apertures will in most instances give me the 'look' I want. They are open enough to throw backgrounds out of focus, but small enough to keep my subject in focus.

Do your own practice shooting to find your favorites!