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| Rules For Porfessional Portrait Photographers episode 2 – Skills & potential Posted: 05 Apr 2011 10:04 PM PDT One of my biggest motivations for undertaking the task of writing this monograph, is the apparent lack of education in the science of photography I have noted among the newer generation of photographers. I am approached regularly by young graduates, forces wives and others who want to apprentice with me. Ten years ago I began to consideration that the population who came to me to apprentice and learn had very microscopic knowledge of even how to control their own cameras! In the last five years, only one applicant had any knowledge at all about how to make a proper exposure without using the schedule function on their camera! Pentax K-5I don’t fault the apprentice entirely. The social school instructors seem to have gotten away from teaching the science of photography in favor of briefing their students on basic composition, then sending them out to make images. And that’s fine as far as it goes in the development of artistic talent with regard to composition. But there is so much more to it than that! What about the basics of development a spoton exposure?! The worst part of all this is, as I go out on locations assignments, I’m noticing more and more that other photographers I see in the field are relying on their schedule mode on their cameras, and don’t even have a flash unit with them! These are population passing themselves off as expert photographers, and working portrait sessions and weddings. You may ask, “So what’s wrong with that? contemporary cameras have extraordinary abilities to create beautifully exposed images all on their own!” It is true that most expert and ‘prosumer’ and even consumer cameras have terrific sensors, built in exposure modes and so forth, and do commonly make quite good exposures in schedule mode. And that’s fine if “good enough” is good enough. But that’s not why population hire a professional! People hire a expert portrait or wedding photographer not because they want snapshots, but because they want expert potential portraits! There is much more to a expert portrait than a good exposure and good composition! I’m not saying that an “editorial”, or “candid” photograph can’t make for an exquisite portrait. What I am saying is, if you characterize yourself as a professional, you should be scholar in utilizing the range of abilities of your equipment, and the compositional and exposure effects this expertise avails. Whatever less, and you are ripping off your clients and the profession. I am not here attempting to teach the science of lighting, exposure and manipulation. There are any exquisite books on each of these topics, and I am happy to recommend some. What I am attempting to accomplish here is to encourage population who are wanting to get into photography as a profession, to actually learn the science and the art before hiring yourself out. As more and more folks go out with a nice digital camera, representing themselves as professionals, not knowing what makes for a good photograph or even how to use their equipment to make the kinds of photographs they envision, it will eventually begin to lower the expectations of the patrons. This in turn harms the profession by development it more difficult for dedicated and scholar professionals to make a decent living with their craft. Don’t get the impression that I’m whining about all the cheap “competition” out there taking all the work. My company is very salutary and getting better all the time. I continue to raise my prices twice a year, and continue to get better and better clients. I am implicated for the hereafter of the art of fine portrait photography, and the next generation of those who put the time and attempt into actually learning and perfecting their craft. When I first got complex with photography I took a class called Photography 101. The first two weeks were devoted to teaching the use of the controls on the camera, what each one did and how it affects the image. I would hazard to guess that the most recent crop of photographers have never even hear the term ‘hyper focal distance’ or how to attain it. The apprentices I’ve worked with in new years have no idea what an “F stop” is or what its influence is on the image. This is sad. In the days of film before digital, this is what you learned in Photography 101: F stops, shutter speeds, how to read a light meter, the Zone System. You learned how to use your camera’s controls to make a good exposure before you even got to the Rule of Thirds and color harmony. Apparently they don’t teach this stuff any more in the social schools photography departments. Sure, you can take a decently exposed image into Photoshop and do a lot of neat things to it to make it look better. If you make a Great image to begin with, now you can create Art with it in Photoshop! And that’s the real difference. So, what makes a Great image? simply put, great lighting, good color harmony and great composition. Of procedure this assumes you know how to make a exquisite exposure. One that shows the field to the best advantage, that has depth and contrast, and leads the viewer’s eye through the image. In development portraits outdoors in available light, you must either have a large area of open shade where the background exposure is very close to the available light exposure in the open shade, or you must have supplemental light, ie flash units. You can’t place population facing into the sun and expect to get comfortable, natural expressions from them. And if you place them so the sun is behind them, and make a good exposure of the face, the sky will be wholly blown out. Solution: Bring lights! If the background is busy and distracting, the best thing to do is to create a shallow depth of field, and make the exposure on the field a integrate F stops brighter than the background so the background goes darker. You can’t do that in schedule mode! And if you don’t know the relationship in the middle of shutter speeds and F stops, you still can’t do it! If you have flash units, you need to know how to use them and how to control them. You need to know where to place them and aim them to create the depth and modeling of your field that will make them ‘pop’ in the photograph. So, all this comes down to learning the skills of image making. Whatever can learn how to control a camera and flash. It takes some initiative, time and effort. But you can do it. Then there’s the artistic intuition and natural ability. You can learn color harmony, and the rules of good composition. As long as you result the “rules”, and have developed the skills, you will regularly end up with very good photographs. Knowing intuitively when to ‘break the rules’, requires either lots of experience, and or natural artistic ability. If you have the natural artistic talent, but haven’t developed the technical skills of photography, you can still accomplish interesting, and even great results…in schedule mode…some of the time. When you integrate the technical understanding and skills with natural and learned artistic ability, this is when you isolate yourself from the hobbyists and snap shooters. It is then that you begin to qualify to become a expert portrait photographer. You see, as a professional, you are looked upon as an scholar in your field. You must be able to deliver the “goods”. The “goods” in this case are excellently crafted, beautiful portraits that thrill the client… Not just satisfy as being ‘good enough’! So then, the “Rule” is: Learn the technical skills of photography, and build your artistic potential so that you can create the best inherent portraits for your clients who are putting their trust in you, and investing their hard earned money in the hope that you will produce work above and beyond the midpoint and ordinary. In other words…Professional! Rules For Porfessional Portrait Photographers episode 2 – Skills & potential My Links : Canon S95 Camera |
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