YOUR PORTRAIT ASSINGMENT There is an unlimited number of ways to photograph people you know Keep these possibilities in mind as you plan your shots Consider where you place your camera in relations to your subject and the environment ID: 651248
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Slide1
THINGS TO
CONSIDER
WHEN PHOTOGRAPHING
YOUR “PORTRAIT”
ASSINGMENT Slide2
There is an unlimited number of ways to
photograph
people you know. Keep these possibilities in mind as you plan your shots…Slide3
Consider where you place your camera in relations to your subject and the environment. Slide4
In addition of a unique Point of View, this photographer uses a limited Depth of Field to keep our eyes from dwelling too much on foreground or backgroundSlide5
Consider the impact of your backgroundSlide6
Another example of a
plain, but colorful background. Also note the subject’s “g
aze.” Her eye contact with the camera (the viewer) makes us feel more connectedSlide7
When the subject looks at
something within the
frame
it
causes us to feel more like voyeurs – not directly connect to the subject. Slide8
When the subject is looking outside the frame, it creates a sense of mystery – what does she see? This image is a classic way of framing that allows the subject “looking space.”Slide9
This image is less traditional – still the mystery of what she sees, but in a less conventional –
more
disconcerting space. She has no “looking space.”Slide10
You control how much you show the view: A close-up
of
a face
… Slide11
…the full body…
pictured: the godmother of Punk Rock, Patti Smith, and the photographer, Robert
MapplethorpeSlide12
or a
fragment of the
body
? They are all legit portrait approaches Slide13
Consider the role of light. In this example the face was intentionally obscured
(probably by a
mini blind with a bright light shinning
through).
Things
like
blinds, plants, or other objects
used to
cast
shadows
on a subject are call
GOBOS
for “go between" or “
go
es
b
efore
o
ptics” Slide14
You can also use other things to partially obscure your subject – things like clothing… Slide15
foliage, or other objects. Here, the subject is framed by the
plants
and the
a
perture is open to minimize the depth of field, thus “blurring” the foreground and background.Slide16
While straight horizontals and verticals can add stability to an image, sometimes your image may need to be “unstable” as in this acrobatic shot. The tilting of the camera adds more energy to this image. Obviously, the arrested movement is possible through use of a fast shutter speed (1/250 – 1/500)Slide17
In this example, the subject on the phone and the people in the center background are not moving – thus they appear “frozen” while the slow shutter speed captures the blurred movement of people who are walking. The camera is on a tripod with slow shutter (1/8 second)Slide18
Another example contrasting a stationary subject and a moving subject.Slide19
In the shot on the right, an off-camera fan is probably used to set the hair in motion and it is “frozen” with a fast shutter speed. This is a common trick of studio and location fashion shoots.
Also note the effects of choosing to frame the subject in a horizontal verses a horizontal frame. Slide20
Consider using “props” to enliven your shot. In this image, the bubble becomes as important, or more important than the model.