Christopher Grey - Christopher Greys Vintage Lighting: The Digital Photographers Guide to Portrait Lighting Techniques from 1910 to 1970

A BOUT THE C OVER

Unless youre stuck in a rut and your gear is in set, unmoving positions, the creation of any photograph, especially a retro image, is somewhat chaotic. You may have a makeup artist and hairstylist on set, and possibly an assistant. In addition, youll have a plethora of cords, stands, modifiers, and generators to deal with. Youll also have to contend with your client, who may never have thrown herself into such a situation until she saw one of your samples or a shot of a previous client.

The cover photographs Ive used on all my lighting books attempt to show that chaos, but also zero in on the important part, the tiny bit of the overall set that, because of your taste and camera angle, will become just one of the images your client will have to choose from. Its just a small part of the overall set, but its the only part youll need to make perfect.

Copyright 2012 by Chris Grey.

All photographs by the author unless otherwise noted.

All rights reserved.

Published by:

Amherst Media, Inc.

P.O. Box 586

Buffalo, N.Y. 14226

Fax: 716-874-4508

www.AmherstMedia.com

Publisher: Craig Alesse

Senior Editor/Production Manager: Michelle Perkins

Assistant Editor: Barbara A. Lynch-Johnt

Editorial assistance provided by Chris Gallant, Sally Jarzab, and John S. Loder.

ISBN-13: 978-1-60895-221-2

Library of Congress Control Number: 2011924256

Printed in Korea.

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No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the authors experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book.

Check out Amherst Medias blogs at:
http://portrait-photographer.blogspot.com/
http://weddingphotographer-amherstmedia.blogspot.com/

T his was an amazing project that involved many extremely talented people, all coming together to help me create what I think is the best book Ive ever written.

When I started in photography I had no idea I would become an educator, much less an author. About ten years ago, and after conversations with other photographers, I became convinced that I knew enough about the craft to educate others. I was happy for that realization, but its nothing without the cooperation and collaboration of so many otherswonderful people who were willing to work with me for a variety of reasons, to help me reach my goals and theirs.

This was an amazing project that involved many extremely talented people.

This book is no exception. There are a large number of people to thank, and Im grateful to each and every one of them for trusting me and my crew to make them look beautiful beyond what they expected.

To my models, I thank you. You gave me the best performances of your lives, at least to date. I have expectations that all of you will go on to surpass what you did for me. Many thanks to: Gianna Alvarez-Avelli, Denise Armstead, Brianna Chevalier, Amber Colvard, Rozalin Dickson, Annie Fitzgerald, Kai Kaniess, Sarah Jeffrey, Jacqueline Kiefat, Tammy Larsen, Yvonne Ngoy, Gina Nichols, Melissa Osterholdt, Rachel Quaday, Margaret Sinarath, Shane Soulier, Marlee Southam, Aleta Steevens, and Angela Walberg. You were all terrific, and I truly thank you for your effort, participation, and trust.

To Peggy Kouri, proprietress supreme at Melrose Antiques and a tremendous asset for wardrobe and jewelry: thank you for being enthused enough about this project to allow me access to your private collection. Vias Vintage, another terrific store, filled in the gaps with outstanding clothing and deserves kudos as well.

My thanks to Barbara Lynch-Johnt, my editor. After working with me on many books (this is my seventh for Amherst Media), Im pretty sure she orders another box of red pens every time one of my manuscripts hits her desk. Im pretty sure she uses them up, too, but Im grateful for her love of red ink.

I used another author photo from my good buddy, Joey Tichenor (www.jtichenorphotography.com). Joey looks at the world like hes wearing a pair of novelty store glasses, and his vision is refreshing. Thanks, big guy, but you still owe me lunch for the plug in the last book.

There were two people whose participation in this book was as important as mine. Makeup artist Sandra Avelli researched vintage makeup techniques, brought in the new centurys tricks, and made it all work wonderfully and believably. She signed on to this project from the start and was always there to make the vision a reality.

Don LaCourse, a hairstylist working in perhaps the most haute salon in Minneapolis, has a passion for retro hairstyles and how to make them happen. Hes a genius at what he does, and I was impressed with not only his abilities but his willingness to jump into the project because he thought it would be fun. I cant thank the two of you enough. Youve raised the bar for any of us who shoot this work.

To our daughter, Liz. Pictures of you have been in all but one of my books. I wish you were in this one, but youre away at college, beginning your own life. Life on your terms trumps any desire I have to feature you in my projects, as much as Id like to.

To Sue, my BW. Ill be up in a minute to cook Italian for us, and I have a nice rustica planned. Poirot tonight?

A BOUT THE A UTHOR

An amazing and passionate man, Christopher Grey firmly cements his position in photographic history with the publication of this book. His use of light to re-create classic and iconic images is unparalleled, and his succinct, literate, and witty prose unequaled in the realm of instructional publishing. There is, simply, no praise that should not be his.

Skilled, talented, and a commanding presence in any room, he also writes his own biographies.

C HAPTER 1
1910 S T HE E DWARDIAN E RA

C HAPTER 2
1920 S T HE R OARING T WENTIES

C HAPTER 3
1930 S T HE D IRTY T HIRTIES.

C HAPTER 4
1940 S T HE S HORTY F ORTIES

C HAPTER 5
1950 S T HE F ABULOUS F IFTIES.

C HAPTER 6
1960 S T HE S OARING S IXTIES.

C HAPTER 7
F INAL T OUCHES

W hile doing a video interview about my work I was asked, Why are you writing these books? My response? Ive had the opportunity to shoot almost everything, and Ive been paid well for it. At this point in my life, I want to teach others everything I know.

Welcome to an exciting side of photography.

As the popularity of photography as an art form grew, so did the technology that backed it up. In particular, lighting styles changed to reflect advancing technology as well as changing social mores. As fashion and society changed, so did photography.