By Digital SLR Photography Magazine, Daniel Lezano
Every thing you must SHOOT lovely photographs together with your digicam With specialists guiding you thru each level of taking pictures a portrait – from viewing the topic to contemplating using lights, composition, backgrounds and strategies taken with recording the picture, this MagBook offers you the knowledge you must create greatest impression photos! protecting all phases of electronic portraiture, this consultant begins with basics resembling establishing your digital camera, studying digital camera modes, knowing publicity and lights, and progresses onto easy-to-follow tutorials overlaying manipulating sunlight, shooting memorable family members graphics and electronic options together with utilizing Photoshop and post-production instruments.
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Extra resources for The Essential Guide To Portraits
This style of interior is just right for the rich, long tonal scale portrait I like to make. The lighting can make the subjects stand out from the background and look three-dimensional. (SUBJECT—Dianne Frantz and her daughters, Lindsey and Elissa; DATE— 1996; CAMERA—Mamiya RZ67; FILM—Kodak NPH, IS0 400; LENS—65mm) FACING PAGE—The 30 CLASSIC PORTRAIT PHOTOGRAPHY The posing and lighting of most studio and outdoor portraits have, from the beginning of photography to the present time, been closely tied to the Victorian portrait painters and photographers.
Perowne, United Kingdom Navy; DATE—2001; CAMERA—Mamiya RZ67; FILM—Fuji NPS, ISO 160; LENS—65mm) LEFT—Sir Frank Swettenham by John Singer Sargent. Andre by Franz Xaver Winterhalter. ABOVE—Edouard LEFT—This portrait was inspired by Edouard Andre, a portrait of a French army officer painted in 1857 by Franz Xaver Winterhalter. (SUBJECT—Lt. Col. 6, 210mm) inspiration for this portrait was The Chess Players by Thomas Eakins. This painting is in the Metropolitan Museum of Art. When I see a portrait painting I like in a museum, I buy a postcard or book of the artist’s work for future reference.
The sun on the beach was just right when this portrait was made. A strobe was not needed; the sun was just a little to the subject's left. 1 30 second at f-5-6. (SUBJECT—Michelle Lyons; DATE—1997; CAMERA—Mamiya RZ67; FILM—Fuji The exposure was / NPH, ISO 400; LENS—65mm) THE TWILIGHT PORTRAIT 57 FACING PAGE—I had visited the top of this hill at sunset and knew it would make a great background for the right subject. A friend recommended that I photograph this young man in his stunning band uniform.