Duncan Evans - Practical Digital Portraits
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In this e-book are 10 projects, varying in complexity and style, covering many aspects of shooting portraits, from the basics to hiring a studio and shooting on location. It starts with a guide to composition and the kind of mistakes that can easily be made, whether they are the fault of the photographer or a characteristic of the focal length of lens being used. If you have never been in a studio then that chapter will be invaluable as it explains how to use studio lights with your DSLR. Then come the standard photo shoot tutorials covering fashion styles and glossy portraits. From there its a trip into the past on how to shoot various retro styles and images from the golden age of Hollywood portraiture. To finish theres a look at period-themed shoots by organising a shoot at Whitby Abbey with a Victorian-attired model, going on location for a massive war weekend re-enactment, and rounding things off with some post-apocalyptic shots from the near future.Who is this book aimed at? Typically, a DSLR owner who knows how to change a lens and turn the camera on, but wants to get more out of the custom aperture, shutter speed, ISO and metering settings, wants to learn a little more about lens effects and who doesnt have experience of carrying portrait shoots on location or the studio. If youve never photographed a model before, there are some helpful hints. Also, if you have a fully featured compact camera then theres plenty of advice here as a lot of the book deals with location based photography.At all times this is a practical book, explaining how to get things done, and ways to make shots better.
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Practical
Digital
Portraits
by Duncan Evans LRPS
Copyright 2014 Duncan Evans
Smashwords Edition
TABLE OF CONTENTS
INTRODUCTION
CHAPTER - BACK TO BASICS
CHAPTER - GO INTO THE STUDIO
CHAPTER - FASHION PHOTOGRAPHY
CHAPTER - GLOSSY STYLISH PORTRAITS
CHAPTER - SHOOT LIKE BAILEY
CHAPTER - CLASSIC HOLLYWOOD
CHAPTER - MOULIN ROUGE
CHAPTER - VICTORIAN DRAMA
CHAPTER - WAR WEEKEND RE-ENACTMENTS
CHAPTER - FUTURE SHOCK
APPENDIX
CONTENTS
INTRODUCTION
What the book is all about and what kind of projects there are to tackle.
BACK TO BASICS
A complete guide to lens types, lens distortion, focal lengths and then composition with tips and tricks and pitfalls to avoid.
INTO THE STUDIO
If you have never used studio flash or hired studio space, heres where to come to try it out. It neednt be expensive and you get to try a new style of lighting.
FASHION PHOTOGRAPHY
Get that fashion vibe with mean and moody, mad and modern, high key and stylised poses. It covers posing, composition and practical considerations.
GLOSSY STYLISH PORTRAITS
Location shooting at restaurants, glossy portraits, cross processing, back lighting
Wide apertures and focus point selection
SHOOT LIKE BAILEY
The visual style of David Bailey and what to learn from winning techniques and poses. Covers compositional techniques, lighting and retro styles.
CLASSIC HOLLYWOOD
Turn back the clock to the golden age of Hollywood portraiture, starting with the limited equipment of the 20s and then the signature lighting styles of the 30s and 40s.
MOULIN ROUGE
How to create a hand-painted, Victorian dancing girl style image with poses and practical advice.
VICTORIAN DRAMA
All the challenges and details required to mount a location-based shoot with a model at a recognisable landmark. In this case, its going Victorian at Whitby Abbey.
WAR WEEKEND RE-ENACTMENTS
Candid photography meets events, re-enactments and posed portraits for those people who like to dress stylish with a war-time setting. How to get around and shoot people more effectively.
FUTURE SHOCK
Got a great idea? Heres how to implement it in a location-based shoot. For this chapter, were taking fashion into a post-apocalyptic future. Here are all the things you need to know and avoid.
INTRODUCTION
Welcome to Practical Digital Portraits, the latest e-book from Duncan Evans. In this e-book are chapters, varying in complexity and style, covering many aspects of shooting portraits. It starts with a guide to basic composition and the kind of mistakes that can easily be made, whether they are the fault of the photographer or a characteristic of the focal length of lens being used. If you have never been in a studio then that chapter will be invaluable as it explains how to use studio lights with your DSLR. Then come the standard photo shoot tutorials covering fashion styles and glossy portraits. From there its a trip into the past to see the classic styles of Bailey, the golden age of Hollywood portraiture and the painted drama of James Wedge and his Victorian dancing girls. To finish theres a look at period-themed shoots by organising a shoot at Whitby Abbey with a Victorian-attired model, going on location for a massive war weekend re-enactment, and rounding things off with some post-apocalyptic shots from the near future.
Who is this book aimed at? Typically, a DSLR owner who knows how to change a lens and turn the camera on, but wants to get more out of the custom aperture, shutter speed, ISO and metering settings, wants to learn a little more about lens effects and who doesnt have experience of carrying portrait shoots on location or the studio. If youve never photographed a model before, there are some helpful hints. Also, if you have a fully featured compact camera then theres plenty of advice here as a lot of the book deals with location based photography. However there are studio, or home studio, sections where being able to connect your camera to studio flash lighting would be an advantage. It isnt essential to have your own studio lighting though. You can either hire the lights in a studio or simply replicate some of the lighting ideas in other ways. In all aspects, this is a practical book, explaining how to get things done, and ways to make shots better.
Duncan Evans LRPS
www.duncanevans.co.uk
CHAPTER BACK TO BASICS
Your guide to getting started with lenses and composition
The single, biggest mistake beginners to portrait photography make is in regards to their choice of lens. When you first start out, all it appears is that lenses simply make things appear closer, and thats it. Except that they dont and also, the longer the lens, the more limited the aperture selection, particularly at the wide open end unless you spend thousands of pounds. This chapter then, is about lens distortion, composition and depth of field in portraits.
DISTORTION
The shorter the focal length of the lens, the wider the field of view and the more curved the glass is on the front of the lens. This means that when standing close to the subject, all the detail that is further away from the central point will be shortened and diminished as the light from the lens is bent into the camera. Now, its often the case that there isnt much room to take a photo and that consequently, you have to use a wide angle lens anything under 50mm can be considered wide in order to get everything in. Firstly, in these circumstances, ask yourself, do you really need to see the whole of the person, or will a head and shoulders shot do? If you really do want an entire body shot, then you must be aware of the effect of foreshortening.
How to get around it without moving back? Well, strictly speaking, there isnt any way around the effect, but you can minimise it to a degree. Normally, the camera is at head height and you are focussing on the subjects face, so its the same height. This will lead to the torso and legs becoming much shorter and the head longer. A quick fix is to drop down and aim the camera at the chest area, so that this is the central point and the legs and head are roughly balanced in terms of their size.
Another alternative is to actually use the effect to play around with the image. Get up on a chair and focus down at the subject, and they will appear to be in a pit looking up. Have the subject hold out a hand towards the camera and it will appear to be the same size as their head. If they are sitting down on the floor, point the legs towards the camera and they will appear longer and will not look unnatural.
The actual solution to lens distortion like this is to use a longer focal length lens and stand further back. While this isnt always practical because of space considerations, it can also limit the lowest f-stop number available, which dictates the amount of depth of field in the picture. Many top pros swear by using a 200mm lens to shoot portraits with, however you would need an awful lot of room to use a lens that long. The other advantage of a longer lens is that it offers a very narrow field of view, so that once the subject is in it, nothing else usually is there to distract the viewer.
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