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April 24, 2013
October 9, 2012
April 24, 2013
December 2, 2012
First one is great – It might just be me but when
I look at the 2nd shot it seems that her eye is slightly
soft and focus is sharper on her nose/mouth area.
The skin tones are lovely on both shots but the 2nd shot
just has that model, magazine look that we all love.
Hope that helps a little. Keep up the great work!
September 15, 2012
Pretty lady. Great lighting, exposure, and composition, Rudi.
I agree with Dale about the softness on the second shot.
Could very well be that the focus was on the tip of her nose rather than her near eye.
It a minimal distance, but the camera settings are not included in your property details, so
I can’t determine your aperture. I’m guessing it was wide with very little dof.
The first photo is tack sharp on her eye which is perfect.
I’m not a big fan of the hair covering an eye thing.
Women just don’t walk around that way and it’s not natural for me.
“ftp” shoot……….. ?
Do you mean tfp shoot… “time for print”, meaning the model gets to keep the prints in exchange for her time?
-- Mandrake --
March 23, 2013
April 24, 2013
June 26, 2013
September 4, 2012
September 7, 2012
May 3, 2019
Are your studio portraits not turning out the way you’d like? Learn how to capture the superior shots that will set your work apart with expert advice from pro Kirk Tuck, who has photographed President Bill Clinton and Academy Award winner Renée Zellweger. Plus, access even more essential techniques when you enroll in his online Craftsy class Studio Portrait Lighting.
1. SET THE RIGHT SHUTTER SPEED FOR YOUR CAMERA.
If you’re going to be hand holding a camera, make sure to select a shutter speed that won’t introduce any camera shake. When in doubt, use the old rule of thumb: never use a shutter speed that is slower than the focal length of your lens. For example, if you are using a 50mm lens, don’t go lower than 1/60.
When using flash you can decide whether or not you want the ambient light to have a strong effect. If you want your finished image to contain both flash and ambient light, set your shutter speed slower than the synchronization speed (generally 1/250), and “drag” the shutter. The slower shutter speed allows the flash and ambient lighting to mix. If you only want the flash to show, aim for a shutter speed closer to the synchronization speed of your flash.
2. SELECT THE BEST APERTURE AND ISO FOR PORTRAITS.
To begin, “zero out” your camera and set all the controls from scratch. If you’re shooting anything longer than 85mm and you’re not trying for the slimmest depth of field, try f/5.6. Lenses are sharpest there (or at f/8), and you should be able to get sharp focus from the subject’s nose back to their ears. When shooting commercial portraits, it’s best to use strobe lighting so that you can use your full film speed range (ISO). Set your ISO as low as you can to maximize your image quality and reduce noise.
3. USE THIS GO-TO LIGHTING SETUP FOR FULL-LENGTH PORTRAITS.
Use large light modifiers or softboxes set back from your subject for good, even lighting coverage. Try a 4×6 foot softbox for an even distribution in the front with a secondary light source behind your subject to define edges and give a few highlights.
4. GET THE MOST OUT OF UMBRELLAS.
Umbrellas that have silver linings tend to reflect a more heavily contrasting light than white umbrellas. The advantage of silver umbrellas is that they are more efficient, so you get more light out of them at the same power setting. Nowadays we don’t worry much about a lack of power, and you should think about keeping your light source soft and flattering. If you can only buy one version, go with the white. Need more contrast? Move the umbrella further away from your subject.
5. PRACTICE WITH THESE CLEVER IDEAS—BECAUSE PRACTICE MAKES PERFECT.
There are a few ways you can easily get in some practice! Most cameras have a self-timer mode that you can use to act as your own model so that you can shoot and experiment to your heart’s desire. The benefit is that you are available all the time, and you probably take direction from yourself pretty well.
Stick a light stand in the shot where you intend to stand, put your camera on manual focus to lock in focus on the light stand and then trigger the self-timer and walk over to where the light stand is. Then, move the light stand and get a nice test shot. Once you have the focus determined, you can put a spot on the floor and get repeatable focus.
You can use an infrared remote or a long cable to trigger the camera instead of the self-timer. It is more convenient and you can try multiple poses before heading back to the camera to see what you got.
Another cheap and easy idea is to get a used mannequin as a model; you can dress it up any way you want.
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