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Senior Portrait Photographers Biography
Portrait photographs have been made since virtually the invention of the camera. The relatively low cost of the daguerreotype in the middle of the 19th century and the reduced sitting time for the subject, though still much longer than now, led to a general rise in the popularity of portrait photography over painted portraiture. The style of these early works reflected the technical challenges associated with long exposure times and the painterly aesthetic of the time. Subjects were generally seated against plain backgrounds and lit with the soft light of an overhead window and whatever else could be reflected with mirrors. Advances in photographic equipment and techniques developed, and gave photographers the ability to capture images with shorter exposure times and the making of portraits outside the studio.When portrait photographs are composed and captured in a studio, the photographer has control over the lighting of the composition of the subject and can adjust direction and intensity of light. There are many ways to light a subject's face, but there are several common lighting plans which are easy enough to describe.Placed opposite the key light, the fill light fills in or softens the shadows on the opposite side of the face. The brightness of the fill light is usually between 1/3 and 1/4 that of the key light. This is expressed as a ratio as in 3:1 or 4:1. When the ratio is 3:1 this is sometimes called Kodak lighting since this was the ratio suggested by Kodak in the instructional booklets accompanying the company's early cameras.
The purpose of these two lights is to mimic the natural light created by placing a subject in a room near a window. The daylight falling on the subject through the window is the Key light and the Fill light is reflected light coming from the walls of the room. This type of lighting can be found in the works of hundreds of classical painters and early photographers and is often called Rembrandt lighting.The "fourth light" in three point lighting, a kicker is a small light, often made directional or limited in coverage through the use of a snoot, umbrella, or softbox that adds a bright edge light on the fill light side of the subject's face, usually just enough to establish the jaw line or edge of an ear. The kicker should thus be a bit brighter than the fill light, but not so bright it over fills the off side of the face; the placement and brightness of a kicker is a matter of taste and technique. Many portraitists choose not to use a kicker and settle for the three main lights of the standard plans. It may thus also be considered an accessory light (see below).Butterfly lighting uses only two lights. The Key light is placed directly in front of the subject, often above the camera or slightly to one side, and a bit higher than is common for a three-point lighting plan. The second light is a rim light. Often a reflector is placed below the subject's face to provide fill light and soften shadows.
This lighting can be recognized by the strong light falling on the forehead, the bridge of the nose and the upper cheeks, and by the distinct shadow below the nose which often looks rather like a butterfly and thus provides the name for this lighting plan. Butterfly lighting was a favourite of famed Hollywood portraitist George Hurrell which is why this style of lighting is often called Paramount lighting.Windows as a source of light for portraits have been used for decades before artificial sources of light were discovered. According to Arthur Hammond, amateur and professional photographers need only two things to light a portrait: a window and a reflector.[2] Although window light limits options in portrait photography compared to artificial lights it gives ample room for experimentation for amateur photographers. A white reflector placed to reflect light into the darker side of the subject's face, will even the contrast. Shutter speeds may be slower than normal, requiring the use of a tripod, but the lighting will be beautifully soft and rich.[3]
The best time to take window light portrait is considered to be early hours of the day and late hours of afternoon when light is more intense on the window. Curtains, reflectors, and intensity reducing shields are used to give soft light. While mirrors and glasses can be used for high key lighting. At times colored glasses, filters and reflecting objects can be used to give the portrait desired color effects. The composition of shadows and soft light gives window light portraits a distinct effect different from portraits made from artificial lights.While using window light, the positioning of the camera can be changed to give the desired effects. Such as positioning the camera behind the subject can produce a silhouette of the individual while being adjacent to the subject give a combination of shadows and soft light. And facing the subject from the same point of light source will produce high key effects with least shadows.There are essentially four approaches that can be taken in photographic portraiture — the constructionist, environmental, candid and creative approaches. Each approach has been used over time for different reasons be they technical, artistic or cultural. The constructionist approach is when the photographer in their portraiture constructs an idea around the portrait — happy family, romantic couple, trustworthy executive. It is the approach used in most studio and social photography. It is also used extensively in advertising and marketing when an idea has to be put across. The environmental approach depicts the subject in their environment be that a work, leisure, social or family one. They are often shown as doing something, a teacher in a classroom, an artist in a studio, a child in a playground. With the environmental approach more is revealed about the subject. Environmental pictures can have good historical and social significance as primary sources of information. The candid approach is where people are photographed without their knowledge going about their daily business. Whilst this approach taken by the paparazzi is criticized and frowned upon for obvious reasons, less invasive and exploitative candid photography has given the world superb and important images of people in various situations and places over the last century. The images of Parisians by Doisneau and Cartier-Bresson to name but two, demonstrate this. As with environmental photography, candid photography is important as a historical source of information about people. The Creative Approach is where digital manipulation (and formerly darkroom manipulation) is brought to bear to produce wonderful pictures of people. It is becoming a major form of portraiture as these techniques become more widely understood and used.Lenses used in portrait photography are classically fast, medium telephoto lenses, though any lens may be used, depending on artistic purposes. See Canon EF Portrait Lenses for Canon lenses in this style; other manufacturers feature similar ranges. The first dedicated portrait lens was the Petzval lens developed in 1840 by Joseph Petzval. It had a relatively narrow field of view of 30 degrees, a focal length of 150mm, and a fast f-number in the f/3.3-3.7 range.
Classic focal length is in the range 80–135mm on 135 film format and about 150-400mm on large format, which historically is first in photography. Such a field of view provides a flattering perspective distortion when the subject is framed to include their head and shoulders. Wider angle lenses (shorter focal length) require that the portrait be taken from closer (for an equivalent field size), and the resulting perspective distortion yields a relatively larger nose and smaller ears, which is considered unflattering and imp-like. Wide-angle lenses – or even fisheye lenses – may be used for artistic effect, especially to produce a grotesque image. Conversely, longer focal lengths yield greater flattening because they are used from further away. This makes communication difficult and reduces rapport. They may be used, however, particularly in fashion photography, but longer lengths require a loudspeaker or walkie-talkie to communicate with the model or assistants.[4] In this range, the difference in perspective distortion between 85mm and 135mm is rather subtle; see (Castleman 2007) for examples and analysis.
Speed-wise, fast lenses (wide aperture) are preferred, as these allow shallow depth of field (blurring the background), which helps isolate the subject from the background and focus attention on them. This is particularly useful in the field, where one does not have a back drop behind the subject, and the background may be distracting. The details of bokeh in the resulting blur are accordingly also a consideration; some lenses, in particular the "DC" (Defocus Control) types by Nikon, are designed to give the photographer control over this aspect, by providing an additional ring acting only on the quality of the bokeh, without influencing the foreground (hence, these are not soft-focus lenses). However, extremely wide apertures are less frequently used, because they have a very shallow depth of field and thus the subject's face will not be completely in focus.[5] Thus, f/1.8 or f/2 is usually the maximum aperture used; f/1.2 or f/1.4 may be used, but the resulting defocus may be considered a special effect – the eyes will be sharp, but the ears and nose will be soft.
Conversely, in environmental portraits, where the subject is shown in their environment, rather than isolated from it, background blur is less desirable and may be undesirable, and wider angle lenses may be used to show more context.[6]Finally, soft focus (spherical aberration) is sometimes a desired effect, particularly in glamour photography where the "gauzy" look may be considered flattering. The Canon EF 135mm f/2.8 with Softfocus is an example of a lens designed with a controllable amount of soft focus.
Most often a prime lens will be used, both because the zoom is not necessary for posed shots (and primes are lighter, cheaper, faster, and higher quality), and because zoom lenses can introduce highly unflattering geometric distortion (barrel distortion or pincushion distortion). However, zoom lenses may be used, particularly in candid shots or to encourage creative framing.[7]
Portrait lenses are often relatively inexpensive, because they can be built simply, and are close to the normal range. The cheapest portrait lenses are normal lenses (50mm), used on a cropped sensor. For example, the Canon EF 50mm f/1.8 II is the least expensive Canon lens, but when used on a 1.6× cropped sensor yields an 80mm equivalent focal length, which is at the wide end of portrait lenses.Many may ask who is the best senior portrait photographer in Eagan or their particular city. My answer is always the same. The person who you can enjoy working with and the person who is able to capture the personality and the essence of the senior being photographed is the best photographer. That is a grandiose way of saying, it depends.
Any photographer worth his or her salt can capture images that are technically proper and lit well etc, but when you look at the images do you say now this image totally captures Jenny or Jimmy or whoever? You get those kinds of images by getting to know your client and building a bit of a real rapport with them. That is what I strive for in every session with my clients.In a recent session with Mallory I must say it was pretty easy to get that result for several reasons. The first one is that Mallory is friendly and warm and she is a natural in front of the camera. She made it a breeze to work with her.
Reason 2 is that she is also a good friend of my daughter so I have additional insight into who she really is. And finally, we had great flexibility with the locations where we were able to shoot the session. That makes the whole process much easier also. That way, I as the photographer have some knowledge of the sites and can plan to connect the location with the individual so as to pull out all the best characteristics of the person with the help of the environment around them.It is funny in our suburban setting many of the kids are not deeply connected with a country setting but we have some great ones so close to us to they are great to use as one type of setting. I find that these types of settings pull out natural calmness, charm and beauty out of people. And then to add in the magic of a red barn, the results are almost shocking.As a Minnesota based photographer and artist I have been greatly influenced by the Upper Midwest. I focus my skills and energies on portraits, landscapes, cityscapes, architectural and fine art work. My best work comes from images first painted in my mind. I mull over a prospective image for weeks or months, seeing it from different angles and perspectives, then finally deciding what to capture. The result is images that deeply touch people's emotions and powerfully evoke memories and dreams. My images are used commercially by companies and organizations ranging from Financial Services firms, mom and pop Ice Cream shops and The Basilica of St Mary to communicate their shared vision and values. Book and magazine publishers have featured my images on their covers. My photographs also grace and enhance the decor of many fine homes.Hi there! My name is Ling Wang and I am a portrait photographer from Houston, TX specializing in seniors, headshots, and families. Welcome to my blogsite where I document my latest photos sessions, offer tips on photography, and write about my interests.Portrait photography is an incredibly personal form of art, and it always starts with the photographer and subject getting to know each other. That's why I blog, so I can share with you a little bit about myself.There’s something magical about photographing near the water. The ebb and flow of the drifting water is so soothing and reminds me of a distant land. Lane, a senior from Lutheran South Academy, told me that several of her families live near the seaside or has lived near by the water at some point. These photos will make treasured Christmas gifts I’m sure. I don’t want to share too many for fear of spoiling the surprise, so for now, just a few sneaks…I recently purchased a film camera, and so I’ve been itching to try it out on a session. In addition to my typical session, my client today allowed me to shoot a roll of film to try things out. While film is certainly much grainier than digital, it also gives it a painterly effect that digital cameras just can’t give. You can fake grain in photoshop, but nothing is comparable to the real thing.
Senior Portrait Photographers Biography
Portrait photographs have been made since virtually the invention of the camera. The relatively low cost of the daguerreotype in the middle of the 19th century and the reduced sitting time for the subject, though still much longer than now, led to a general rise in the popularity of portrait photography over painted portraiture. The style of these early works reflected the technical challenges associated with long exposure times and the painterly aesthetic of the time. Subjects were generally seated against plain backgrounds and lit with the soft light of an overhead window and whatever else could be reflected with mirrors. Advances in photographic equipment and techniques developed, and gave photographers the ability to capture images with shorter exposure times and the making of portraits outside the studio.When portrait photographs are composed and captured in a studio, the photographer has control over the lighting of the composition of the subject and can adjust direction and intensity of light. There are many ways to light a subject's face, but there are several common lighting plans which are easy enough to describe.Placed opposite the key light, the fill light fills in or softens the shadows on the opposite side of the face. The brightness of the fill light is usually between 1/3 and 1/4 that of the key light. This is expressed as a ratio as in 3:1 or 4:1. When the ratio is 3:1 this is sometimes called Kodak lighting since this was the ratio suggested by Kodak in the instructional booklets accompanying the company's early cameras.
The purpose of these two lights is to mimic the natural light created by placing a subject in a room near a window. The daylight falling on the subject through the window is the Key light and the Fill light is reflected light coming from the walls of the room. This type of lighting can be found in the works of hundreds of classical painters and early photographers and is often called Rembrandt lighting.The "fourth light" in three point lighting, a kicker is a small light, often made directional or limited in coverage through the use of a snoot, umbrella, or softbox that adds a bright edge light on the fill light side of the subject's face, usually just enough to establish the jaw line or edge of an ear. The kicker should thus be a bit brighter than the fill light, but not so bright it over fills the off side of the face; the placement and brightness of a kicker is a matter of taste and technique. Many portraitists choose not to use a kicker and settle for the three main lights of the standard plans. It may thus also be considered an accessory light (see below).Butterfly lighting uses only two lights. The Key light is placed directly in front of the subject, often above the camera or slightly to one side, and a bit higher than is common for a three-point lighting plan. The second light is a rim light. Often a reflector is placed below the subject's face to provide fill light and soften shadows.
This lighting can be recognized by the strong light falling on the forehead, the bridge of the nose and the upper cheeks, and by the distinct shadow below the nose which often looks rather like a butterfly and thus provides the name for this lighting plan. Butterfly lighting was a favourite of famed Hollywood portraitist George Hurrell which is why this style of lighting is often called Paramount lighting.Windows as a source of light for portraits have been used for decades before artificial sources of light were discovered. According to Arthur Hammond, amateur and professional photographers need only two things to light a portrait: a window and a reflector.[2] Although window light limits options in portrait photography compared to artificial lights it gives ample room for experimentation for amateur photographers. A white reflector placed to reflect light into the darker side of the subject's face, will even the contrast. Shutter speeds may be slower than normal, requiring the use of a tripod, but the lighting will be beautifully soft and rich.[3]
The best time to take window light portrait is considered to be early hours of the day and late hours of afternoon when light is more intense on the window. Curtains, reflectors, and intensity reducing shields are used to give soft light. While mirrors and glasses can be used for high key lighting. At times colored glasses, filters and reflecting objects can be used to give the portrait desired color effects. The composition of shadows and soft light gives window light portraits a distinct effect different from portraits made from artificial lights.While using window light, the positioning of the camera can be changed to give the desired effects. Such as positioning the camera behind the subject can produce a silhouette of the individual while being adjacent to the subject give a combination of shadows and soft light. And facing the subject from the same point of light source will produce high key effects with least shadows.There are essentially four approaches that can be taken in photographic portraiture — the constructionist, environmental, candid and creative approaches. Each approach has been used over time for different reasons be they technical, artistic or cultural. The constructionist approach is when the photographer in their portraiture constructs an idea around the portrait — happy family, romantic couple, trustworthy executive. It is the approach used in most studio and social photography. It is also used extensively in advertising and marketing when an idea has to be put across. The environmental approach depicts the subject in their environment be that a work, leisure, social or family one. They are often shown as doing something, a teacher in a classroom, an artist in a studio, a child in a playground. With the environmental approach more is revealed about the subject. Environmental pictures can have good historical and social significance as primary sources of information. The candid approach is where people are photographed without their knowledge going about their daily business. Whilst this approach taken by the paparazzi is criticized and frowned upon for obvious reasons, less invasive and exploitative candid photography has given the world superb and important images of people in various situations and places over the last century. The images of Parisians by Doisneau and Cartier-Bresson to name but two, demonstrate this. As with environmental photography, candid photography is important as a historical source of information about people. The Creative Approach is where digital manipulation (and formerly darkroom manipulation) is brought to bear to produce wonderful pictures of people. It is becoming a major form of portraiture as these techniques become more widely understood and used.Lenses used in portrait photography are classically fast, medium telephoto lenses, though any lens may be used, depending on artistic purposes. See Canon EF Portrait Lenses for Canon lenses in this style; other manufacturers feature similar ranges. The first dedicated portrait lens was the Petzval lens developed in 1840 by Joseph Petzval. It had a relatively narrow field of view of 30 degrees, a focal length of 150mm, and a fast f-number in the f/3.3-3.7 range.
Classic focal length is in the range 80–135mm on 135 film format and about 150-400mm on large format, which historically is first in photography. Such a field of view provides a flattering perspective distortion when the subject is framed to include their head and shoulders. Wider angle lenses (shorter focal length) require that the portrait be taken from closer (for an equivalent field size), and the resulting perspective distortion yields a relatively larger nose and smaller ears, which is considered unflattering and imp-like. Wide-angle lenses – or even fisheye lenses – may be used for artistic effect, especially to produce a grotesque image. Conversely, longer focal lengths yield greater flattening because they are used from further away. This makes communication difficult and reduces rapport. They may be used, however, particularly in fashion photography, but longer lengths require a loudspeaker or walkie-talkie to communicate with the model or assistants.[4] In this range, the difference in perspective distortion between 85mm and 135mm is rather subtle; see (Castleman 2007) for examples and analysis.
Speed-wise, fast lenses (wide aperture) are preferred, as these allow shallow depth of field (blurring the background), which helps isolate the subject from the background and focus attention on them. This is particularly useful in the field, where one does not have a back drop behind the subject, and the background may be distracting. The details of bokeh in the resulting blur are accordingly also a consideration; some lenses, in particular the "DC" (Defocus Control) types by Nikon, are designed to give the photographer control over this aspect, by providing an additional ring acting only on the quality of the bokeh, without influencing the foreground (hence, these are not soft-focus lenses). However, extremely wide apertures are less frequently used, because they have a very shallow depth of field and thus the subject's face will not be completely in focus.[5] Thus, f/1.8 or f/2 is usually the maximum aperture used; f/1.2 or f/1.4 may be used, but the resulting defocus may be considered a special effect – the eyes will be sharp, but the ears and nose will be soft.
Conversely, in environmental portraits, where the subject is shown in their environment, rather than isolated from it, background blur is less desirable and may be undesirable, and wider angle lenses may be used to show more context.[6]Finally, soft focus (spherical aberration) is sometimes a desired effect, particularly in glamour photography where the "gauzy" look may be considered flattering. The Canon EF 135mm f/2.8 with Softfocus is an example of a lens designed with a controllable amount of soft focus.
Most often a prime lens will be used, both because the zoom is not necessary for posed shots (and primes are lighter, cheaper, faster, and higher quality), and because zoom lenses can introduce highly unflattering geometric distortion (barrel distortion or pincushion distortion). However, zoom lenses may be used, particularly in candid shots or to encourage creative framing.[7]
Portrait lenses are often relatively inexpensive, because they can be built simply, and are close to the normal range. The cheapest portrait lenses are normal lenses (50mm), used on a cropped sensor. For example, the Canon EF 50mm f/1.8 II is the least expensive Canon lens, but when used on a 1.6× cropped sensor yields an 80mm equivalent focal length, which is at the wide end of portrait lenses.Many may ask who is the best senior portrait photographer in Eagan or their particular city. My answer is always the same. The person who you can enjoy working with and the person who is able to capture the personality and the essence of the senior being photographed is the best photographer. That is a grandiose way of saying, it depends.
Any photographer worth his or her salt can capture images that are technically proper and lit well etc, but when you look at the images do you say now this image totally captures Jenny or Jimmy or whoever? You get those kinds of images by getting to know your client and building a bit of a real rapport with them. That is what I strive for in every session with my clients.In a recent session with Mallory I must say it was pretty easy to get that result for several reasons. The first one is that Mallory is friendly and warm and she is a natural in front of the camera. She made it a breeze to work with her.
Reason 2 is that she is also a good friend of my daughter so I have additional insight into who she really is. And finally, we had great flexibility with the locations where we were able to shoot the session. That makes the whole process much easier also. That way, I as the photographer have some knowledge of the sites and can plan to connect the location with the individual so as to pull out all the best characteristics of the person with the help of the environment around them.It is funny in our suburban setting many of the kids are not deeply connected with a country setting but we have some great ones so close to us to they are great to use as one type of setting. I find that these types of settings pull out natural calmness, charm and beauty out of people. And then to add in the magic of a red barn, the results are almost shocking.As a Minnesota based photographer and artist I have been greatly influenced by the Upper Midwest. I focus my skills and energies on portraits, landscapes, cityscapes, architectural and fine art work. My best work comes from images first painted in my mind. I mull over a prospective image for weeks or months, seeing it from different angles and perspectives, then finally deciding what to capture. The result is images that deeply touch people's emotions and powerfully evoke memories and dreams. My images are used commercially by companies and organizations ranging from Financial Services firms, mom and pop Ice Cream shops and The Basilica of St Mary to communicate their shared vision and values. Book and magazine publishers have featured my images on their covers. My photographs also grace and enhance the decor of many fine homes.Hi there! My name is Ling Wang and I am a portrait photographer from Houston, TX specializing in seniors, headshots, and families. Welcome to my blogsite where I document my latest photos sessions, offer tips on photography, and write about my interests.Portrait photography is an incredibly personal form of art, and it always starts with the photographer and subject getting to know each other. That's why I blog, so I can share with you a little bit about myself.There’s something magical about photographing near the water. The ebb and flow of the drifting water is so soothing and reminds me of a distant land. Lane, a senior from Lutheran South Academy, told me that several of her families live near the seaside or has lived near by the water at some point. These photos will make treasured Christmas gifts I’m sure. I don’t want to share too many for fear of spoiling the surprise, so for now, just a few sneaks…I recently purchased a film camera, and so I’ve been itching to try it out on a session. In addition to my typical session, my client today allowed me to shoot a roll of film to try things out. While film is certainly much grainier than digital, it also gives it a painterly effect that digital cameras just can’t give. You can fake grain in photoshop, but nothing is comparable to the real thing.
Senior Portrait Photographers
Senior Portrait Photographers
Senior Portrait Photographers
Senior Portrait Photographers
Senior Portrait Photographers
Senior Portrait Photographers
Senior Portrait Photographers
Senior Portrait Photographers
Senior Portrait Photographers
Senior Portrait Photographers
Senior Portrait Photographers
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