Portrait Photography Tips- The Best Photography Webinar for Beginners and Pro Photographers

Marion has an extensive
background in our industry with over 40 years of experience he’s one of the most
accomplished professional photography experts in the country. After receiving
his formal entire be training under master photographer Bill Callan Marion
launched a successful wedding photography business in Arkadelphia
Arkansas. seeking to expand his biography and business experience he moved into a
manager role at Herff Jones division in portland oregon in 1989 after several
years in the volume photography business he was appointed as a director of
photography for the largest volume photography studios in the u.s. very
trained and supported over 500 citta grippers on a daily basis so you can see
the unmovable background that Marian has in this industry so I’m really excited
for instance up to you guys today they were very proud to have him as our
volume photography expert and consultant at town and nations photo lab where he
continues to provide unparalleled training and support school sports and
event photographers his goal is to help photographers master their graphic they
feel confident in providing customers the best possible images began a
competitive advantage in the market and grow their business without further ado
I want to introduce Marian Hughes and let Marion go ahead and read out that
all right hi everybody this is Marion use what I’d like to share what today is
the secrets of consistency a lot of us can take a hundred pictures and pull out
three or four good ones a lot of us can do a highly skilled work on an
intermittent basis the main thing is is we need to know the challenges and the
shortcomings of our equipment and that’s pretty much what we’re going to be
talking about today how to get around those it’s the dirty little secrets a
digital photography number one don’t trust the seat of your pants shooting by
the seat of your pants is going to get you into trouble the view screen on the
back of your camera is unreliable as to exposure and contrast histograms can be
very tricky equipment must be tuned to be accurate preset white balances are
never exact and by all means the worst of them is
auto white balance auto anything makes all the mistakes and shooting raw means
a lot of Photoshop time now I know a lot of people are kind of married to
shooting raw they’re usually married to it because they want to be able to
recover any mistakes they made so my recommendation to you is to learn to
shoot raw plus jpg and when you really master your equipment you won’t have to
go to the raw images at all you’ll just be able to use the JPEG images and
that’s going to save you tremendous amount of time in post-production
because pretty but say four years Photoshop is an adult video game it can
take all of your time if it takes you an hour to photograph a session but another
two hours to play with it in Photoshop you’re not making money in Photoshop if
you can get it right in the camera you don’t have to worry about that so let’s
move on and look at some of the things that happen that can be corrected
exposure the price is right is right men the show prices right well you know if
you bid on an item you’ve got to get as close as you can without going over
that’s the same theory is that the way that digital photography works those of
us that remember the old film days we have a latitude that wouldn’t quit you
could should stop and a half under you could shoot two three stops over and
still recover a fret digital doesn’t have that advantage it’s got a very
narrow latitude you can work from a stop under to a sort of a stop over and get
reasonable results but even if you’re using raw files you can’t recover much
more than that and make it look like it would have been if it has been exposed
right in the first place so let’s see when you expose something correctly
you’ve got great detail in the highlights and in the shadows as kids
hair has great detail it is white white teeth you can enlarge this and look
right at the cracks honesty no challenges their picture was exposed
normally it went through the lab like snot through a snail now we look at a
picture that’s under exposed by a stop when the your lab or your self correct
image they can get a correction but they can’t get it perfect you’ll notice the
picture insulin flattered when less saturated the hair is going to look a
little ghosty but it’s a saleable print now if you overexposed it’s totally
available overexposure is one of the two major Devils of digital photography when
you try to correct an overexposed photograph the contrast goes up the
highlight detail goes down you’ll never get a picture that’s over-exposed by
much more than a stop corrected even in raw with it looking like it did
originally so the trick here is to get the exposure exactly right I’m going to
show you how you can do that it is close to correct as possible without going
over it’s this work consistently requires that we know the variables so
let’s look at it receive your strobes are out to get you now I don’t know what
kind of strobes you may have you may not have studio strobes at all but if you do
you’ll find that there are two general types analog and digital there’s also
continuous lighting in studio strobes analog and digital identified as those
that are a little bit older and you can turn them up and down with a slider or
dial that there’s no read out the nice thing about these is they’re cheap a lot
of people use alien bees and others that are not that expensive as long as you
know the shortcomings of those strobes you can still use them and save a lot of
money the other type is digital and there’s a plenty of people making
digital strobes right now those will have to put out a readout on them that
will tell you exactly what setting you’re at let’s look at the challenges
with each digital strobes give you a more precise exposure and that’s a good
thing they maintain your color and most of them anyway but they made blur action
the way of digital strobe reduces its power is that it actually extends the
amount of flash time in other words the strobe is lit longer and that way it can
reduce its power without changing its color the challenge there
is if you’re doing action photography you’re going to have some blurring in it
friend of mine was into photographing ski job skiers at a park in Colorado and
who they got a cave in to the ski jumping and as they fly over he take the
picture well he’s using analog scrubs is actually using alien bees and it’s
getting a good result decide if you wanted to upgrade to a digital stroke he
could not stop the action he had to go back to his older analog scrubs now n
log strobes are wonderful because it’s so cheap and they’re liable but they do
have some shortcomings they can shift color between the maximum exposure and
the minimum exposure they require warmup time if you had a long strobes you need
to warm them up to prevent them from getting brighter while you’re working if
you know your strobes you got to test your struggles and do that what you’re
going to do is you’re going to set them up and make a reading after you turn it
on and then photograph photograph immediately a gray card or some standard
size standard chart wait 30 minutes we have a lot of time and then fire the
lights 30 times 5 seconds apart this this emulates the same thing is running
your strokes for a couple of hours test by metering after the warm-up and if you
find there’s a difference then you’ve got to warm up your strokes to use them
properly if you have a lot of strobes don’t go throw them out and run straight
and bi digital’s take your analog strobes and when you arrive at your site
or use before you start photographing turn them on set them to full power I do
a lot of on location photography so what I do is I’ll take my strobes to an
outlet I’ll plug them in and turn them on the full power and then I’ll walk
away and go set up the kit when I’m through setting up the kit that’s 15
minutes or so I come back I take those full power strobes and put them into the
stands getting them ready to work leave it at full power and then I fire them
once every five seconds I do that about 30 times and that forms
the capacitors in your stroke so that they don’t change for the rest of the
day so it’s possible to get away with less expensive strobes if you just warm
them up if you don’t do this you’ll find your lights get brighter sometimes as
much as two-thirds of the stop in an hour analogs can be inconsistent low
power when you turn on the bed down below eighth power they will vary in
exposure just a bit so you want to keep them above a power and you want to warm
them up this is a simple test where you can shoot take 30 images of 8th power
and five seconds apart and see if the exposures buried by photographing a
tritone our color target this again tell you that your strobes are working
correctly or whether or not to you get one them up repeat a quarter power now
let’s look at this analogs make color shift between low and high power so what
I do is when i’m writing a lighting diagram make sure that the power on each
light stays between about quarter power and full and you don’t see that color
shift as much just stay away from things below eight power for sure okay let’s
look at this posted sync speeds on your camera’s most of you have a camera that
sinks at a two hundred fiftieth of a second well that’s only true if you pop
up a little strobe on the camera or have a portable stroke plug directly in the
last year anytime you separate the lights from the camera he’s a radius
long strobe or use I’m going to use a radio sink or use a cord whatever you’re
doing to get the struggle way from the camera is going to slow down the parent
sync speed and if you’re using studio strobes they’ll never sink regularly at
a 250 to the second so what I suggest that you do you test it to make sure
it’s right I show you a white wall at a sixtieth of a second up to afforded of a
second unscrew you’ll have all these images to look at you’ll notice the
camera is supposed to sync it to 50 in this
particular case you see the dark area at the bottom of the image that’s what the
camera did not completely sink in reality what happened is the mirror did
not get completely out on the way before the stroganoff you say 320 it’s
definitely out of thing but look at 200 now depending on your monitor you should
be able to see a difference between 200 and 160 160 is lighter on this
particular case that strobe did not sink it 200 because it still get back a
little bit of the light it still didn’t seem completely what I recommend is when
you’re using scrubs for using studio strobes or any stroke on a radio remote
set it between 125 and 160 125 is my favorite one sixty of them outside by
doing that you’ll be sure you have a sink every time you will have a
situation where if you do use a fairly high shutter speed like a hundredth of a
second some of the pictures will be lighter and darker and they’ll almost
always be from one edge and this is because again studio strobes have a
longer flash duration therefore they take longer to put all the light and if
you’re six speed is too high for that stroke you won’t get all of the image
all cameras are not created equal you can have two cameras that come right out
of the factory one serial number of part and one could be a third of a stop
bright and the other one could be a third of a stop dark when Canon or Nikon
or anybody else produces a camera they can’t make all those senses perfect or
the cost of the camera would be too high so they say oh if it’s the third to stop
where it’s supposed to be is ok but if you’re doing volume work where you need
consistency and you have three or four cameras at the same job you want them
all to look exactly alike so some of your camels be a little bit right some
will be a little bit dark reason I bring this up is that a meter can’t correct
for that also lenses coming out of the factory can be at f11 could be actually
f10 or could the f-14 even though it’s 11 because there’s a 32 stock variance
in the lenses as well if you want a perfect camera you probably have to buy
leica and even they’re not absolutely perfect ok meters must be tuned to your
camera and lens to be useful so if you use meters and you just left the meeting
around a box and you’ve got a camera out of the box and the camera is a third of
a stop bright and then the meter in the lensman start of a stock right and who
knows what your meter is set to the results would be you can be shooting a
bird to a full stop over or underexposed depending upon the equipment that you’re
using and I’m going to show you how to get that exposure perfect every time and
by the way the only meters I own now are in my NP collection I don’t use a meter
anymore because I have an alternate an alternate method these are camera
exposure charts these are three different companies they’re all
reasonably good absolutely the best learn and these are used for getting
your exposure correctly because you have to have a standardized chart to do that
and you can use the standardized star chart in your meter to match your camera
the Munsell color checker was with a first and the best it’s well built it
was never yellow it is an excellent piece of equipment but when i get one I
always put a black dot right in the middle so I have something to focus on
when I’m photographing it the other possibility is it fears this calibration
target it’s a both of these are a little on the pricey side both of these had
three tones on them and I’ll explain in a minute how you work with those the
third is pounds labs white balance exposure target this is the least
expensive one and in my opinion the most accurate and the reasoning for that is
it specifically tuned to give you an ideal exposure you don’t add color and
you don’t need the gray in there because there’s another dirty little secret of
digital photography eighteen percent reflectance grey was
designed for film digital ideal is twenty-two percent reflectance grey but
you won’t get anybody to tell you that all of these are based on eighteen
percent reflectance mine is black and white that’s the one that I built the
pounds white balance exposure target and it doesn’t mean a great i’ll show you a
little bit about how to use that okay the target comes with a book on the
dirty little secrets of digital photography and they focus testing chart
it looks like the picture on the right what you do is you photograph you go to
the point we’re going to take the picture of the person and you hold it up
and you just take a picture in the center part all the white a little bit
of the black when you do that we get only two spikes on the Instagram okay
these are the highlights and the shadows the hiking light the height of the spike
means nothing however if the two spikes they move together like prongs on a fork
move to the left you’re under exposed for the desktop if they move to the
right you’re over exposed when they’re right in the middle you have the ideal
exposure and if you can’t tell if it’s off a little bit it’s so close it’s less
than a tenth of a stop off I think it’s more than a tenth of a stop-off it’s
obvious that it’s wrong now if you’re using the other color checkers it
pierces or Munsell color checker they also have a spike that’s supposed to be
in the middle to the gray and but pay no attention to it whatsoever usually a
gray card like I mentioned earlier the right density the gray card is not
eighteen percent or click that’s great for digital it’s 22 you’re not going to
find a grey card this 22-ton reflector so if you use a grade card to get your
exposure or a expo disc and you get the spike right in the middle you’re
actually under exposing just a little bit and that’s on purpose because I
don’t want you to overexpose but we want you to get it as accurate as possible so
it’s just a matter of following two spikes to get the exposure right once
the exposure is correct the examine scram once it is correct then you can
white balance adjust the power upper bound and reshoot and repeat now though
is keep turning it up in this value attune your meter now once you’ve got a
perfect exposure you put your meter at the same site with the same settings on
it and take a meter reading if that meter reading doesn’t match the f-stop
you were shooting at exactly like f8 or whatever your shoe yet then the meter
needs to be adjusted then the meeting will match the camera and you can
continue to use it however you still have the problems where lenses can be
out of focus but again the advantage of having perfect exposure can’t be
underrated perfect exposure gives you details you can’t get any other way what
you’re looking now is a is a focusing target by the way these focusing targets
PDF can be sent to you if you request them at no charge and it is designed to
make it possible tell if your lens is focusing at exactly where it says it is
basically what you’re going to do is going to set it at an angle a low angle
about 20 degrees and with a single focusing point you’re going to focus on
the target at the center go back this target right right here at the center
okay because instead of low angle parts closer to you will be out of focus and
parts further away will be out of focus and only the point you focus should be
sharp if you look carefully at this image you’ll notice that look at bike
negative 3 and positive 3 positive three sharp negative three is blurry so this
is actually focusing forward about two points you would need to do this at
three different ranges on a zoom lens so I the way I usually do this a full set
of instructions comes with it is i’ll set the camera to f56 i’ll lay 11 x 17
copy of the target on the tabletop and i’ll get down at a low angle you can
even use a little pop-up struggle if that’s what you’ve got but make sure
that your shutter speeds high enough that you don’t learn if you’re going to
be doing this available light use a tripod focus carefully on that spot
squeeze the shutter do that at each of your set zoom
positions or a minimum wide angle mid-range and telephoto so that you can
see if the picture is absolutely sharp where you focused on each of those
settings many times you’ll find you have a lens it’s perfectly sharp until a
photo perfectly sharp it mid-range but at wide-angle it’s way off the lenses
I’d like to warn people about those all-purpose lenses that go from like 18
millimeters to 200 200 or 250 I’ve yet to see one of those that convince a good
sharp image in all three settings and some of them will focus unifor telephoto
a little soft at normal and be off by yards at the lighting or range so if you
have one of those lenses you need to get one of these three targets for me so
that you can test them ok back to all grunt custom white balance is very
important when you’re shooting in most situations with ambient light in most
situations in ambient light you could get away with using electronic flash for
your setting because sunlight and cloudy they are very close to electronic flash
on a open shade day where she end the sky with no with no with skies are only
light source your weight balance can be extremely off this has covered more on a
presentation that i have on simplified outdoor portrait photography when you’re
working inside and if you are volume photography and you move from site to
site a red carpet or yellow walls will give you a different color in different
rooms so what I do is I get the exposure absolutely perfect using a light
balanced target like the limit and once I get it perfect and get that accurate
exposure then I’ll weight balance the camera now here’s another dirty little
secret of digital photography nikon canon both will correct your color
when you auto when you uh set custom white balance but the first correction
is only eighty-five percent of the way to perfect now yesterday uses the same
camera under the same kind of lighting a single white balance was probably going
to work but let’s say yesterday you were photographing a football game and you
wait battles for that and the day you shoot you in the strobes you weight
balance today you won’t get a perfect color the only way to get a really
really good color is to take a second image and white balance twice the second
image corrects it the rest of the way from eighty five percent correction all
the way up to 100 okay let’s see we got it Oh dirt and does my friends I’ve had
territories and I work with her in Arizona and a sport that they were
plowing the desert with their cameras dust is a major problem even if you have
anti desk soft I just application on your camera how that works is when you
do the cleaning electronic cleaning it shakes the sensor sonically very very
fast any deaths that might be on the sensor and big enough that gravity can
take it will fall down to the bottom of the camera most of them have a and then
he said pad at the bottom of the sensor and as he said pad let us stick to it so
that it doesn’t fly back up again their limbs again but that only works with the
cameras horizontal so when you’re trying to use your electronic dust remover have
the camera horizontal and stable when you turn it off at no on you might even
turn it off on with the dust activation each time several times to get rid of
some does dust contamination will be detected and corrected and prevented
changing lenses only change lenses only ones true necessary if you’ve got a
favorite lens on a favorite body always store them connected
when you do have to change the lens point the body downward remove the lens
and put the other lens on with again the body facing downward this is to help
some dust from getting in there and as I mentioned about the auto cleaning the
camera needs to be horizontal and still when you do all the cleaning ok there’s
a quick sky test for dust this may be no problem at all that’s a 56 or f8 but
then be a disaster at f/16 or 22 so what I do is I’ll pick a nice clear day and
I’ll go out and I’ll set the camera to give me a good exposure to the sky I
loom the maximum and I’ll focus on my foot and I’ll hold that focus and I’ve
pointed up at the blue sky and take a picture if there’s any dust that
out-of-focus photograph anything in the sky will be dust and it because you want
to do this at f-22 the dust will be magnified so that you can see are
intensified so you can see it easier cleaning however cleaning your camera I
always recommend that you get somebody to clean it for you it knows what
they’re doing if you clean the sensor yourself it could cost you a thousand
dollars in repair so my recommendation is to get something do it for you but if
you’ve got to do it yourself you can request from me a one-page instruction
sheet on how to clean it yourself using a a best rocket like the one pictured
here I still can’t recommend you to use swabs because you go out and you clean
it you scratch it you might be mad at me but again if you have extra thousand
dollars in your pocket if you scratch it or damage it that’s no problem for me
but I do have a thesis on how to clean the dust rocket umbrellas and soft boxes
there’s been a big debate in photography about should use an umbrella should use
a soft box and when should you use it soft boxes are like light shotguns they
send most of the light out in a general direction and they’re nice when you
don’t want the light to fall anywhere else
for example if you want to like somebody with a black background using a softbox
will make that a lot easier because the light will not spread to the background
as much however if what you’re doing is needs to like spread like a white
background or green-screen white umbrellas are your best bet when you buy
umbrellas avoid silver and satin umbrellas and most of them are satin
what you want is a paper white umbrella and I can give you a link to someone who
sells those very inexpensively if you’re interested the but again the umbrella
needs to be paperwhite not satin or silver now you might say well why
silverman umbrella is a lot brighter in fact a buceta will stop more but the
light is very directional and very contrasting and remember those shiny
faces in the overexposed pictures we already have a challenge in digital
photography with people of shiny faces so you don’t want to use a light source
that causes it to be anything be any worse that’s why a flat white umbrella
gives you much better results in digital photography okay umbrella silver shit
blue versus white and that’s what we just discussed but there’s also a trick
about aiming umbrellas that almost nobody knows this is another dirty
little secret of digital photography see the shaft of these umbrellas most people
will set up an umbrella with the light and point the shaft directly the subject
may be at the chest depending upon how your umbrella mounts to the shaft it
actually is not projecting the best part of the light if you aim the shaft at
them if the shaft mounts on the umbrella on the top like the one on the left
you’re illuminating mostly the bottom half of the umbrella the bottom half of
the umbrella is curved upward so it’s actually casting the light out at an
upward angle if you aim the shaft directly at someone you’re actually
lighting above them so it’s best with a shaft that mounts on top of the light to
come down a little lower Thunder head your shoulders portrait I’ll leave it
down at the belly button or mobile up and this way I get a much more even
light if however i’m using a strobe where the shaft goes through the bottom
of the strobe i’m primarily eliminating the top half of the umbrella which
throws the light down at an angle so in order to compensate for that i keep the
shaft of the umbrella perfectly level and you can check this with a meter
point your shaft straight ahead and see where the greatest part of the spot on
your meter is on a wall and you’ll find that if the shaft is mounted on the top
the brightest spot will be a little above center and if a shaft marks below
the brightest spot will be a little below Center so again this is well as
dirty little secrets that most people don’t know flagshare wicket viewing the
monitor outdoors on your camera I’m sure you’ve had this challenge r you going
outside and you want to see what’s on the monitor but it’s just too bright and
everything looks too dark turning up the brightness on the monitor doesn’t help
it just flattens it out so what I recommend you do is either shell out the
bucks and go to hood man and by a loop specially built for your camera or you
can go to any camera stop shop that’s been open since the film days and
they’re going to box with these little loops their inspection loops for looking
at negatives and they probably haven’t sold one in ten years but they’ll pull
out the box and dusted off and sell you one for five or six dollars and all you
have to do is wrap black tape around the plastic area on the bottom now you’ve
got a little light box so when you look at the monitor on the back of your
camera you just place this on the back of the camera and you don’t have
interrupting glare or flare that I tell you a little string onto this and dangle
it from my d-ring so anytime I want to look at the back of the camera I can
grab that and do it why that one tips worth the cost of admission okay at this
point I’m going to share with you a few tips about cropping and posing and such
and oil cropping primarily and there are a total of a handful of cropping points
are legal on the human body a head and shoulders photographs cuts through the
center of the chest a half-length photograph cuts at the bellybutton
armfuls are very classic a fling those three quarter poses are a little bit
trickier they crop someplace between the hips and the knees if you crop just the
knees off there’s going to be a whole long leg that you don’t need so what I
do is I look at my bottom posing point for example this young man with his hand
in this pocket I’ll use the buff of that hand to be the bottom of my posing point
and our crop just below that primarily it’s a three-quarter pose but only show
as much below the hip as you need to there is no crop that exists between
three quarter and bullying if you crop and show the knees in the picture it’s
neither fish nor fowl you have to show everything or above the knees now the
only caveat to this is someone seated you might show these if someone standing
in the captain morgan pose or they’ve got to put up on something the raisiny
can be shown but the other one should not be in to make it a good
three-quarter photograph and inside your camera your view is for my 64 map that’s
not even quite a five by seven swill shorter than a five by seven so if you
want to make an eight-by-ten of that image you’re going to cut off the top
and bottom ten percent of the picture to make an eight by ten out of it eight but
10 16 by 20 other sizes similar so what I recommend that most people do is
acquire a mask for your camera now this doesn’t work in mirrorless cameras but
any camera with a focusing screen in it focusing screen can be replaced with a
mask that shows the ideal crop and this particular mask works for every single
image you take if you take a picture wedding you now know by looking at the
button area if you’re going to crop somebody off in a group any couple or
individual photographs you take the tallest person’s head would be at the
hairline which is just above our head if you’re doing standard head-and-shoulders
portrait like for school the chin line comes in really handy that way they’re
all the same if you’re doing a full length the top of the head touches the
top line the toes touch the toe line but everything stays inside the eight by ten
area these are without a doubt and the handiest thing as having your camera to
again save on post-production time remember what I said about Photoshop
photo shot is an adult video game is a group the same lines you use for the
head and the toe become the shoulders of the group and it makes a perfect prop
for an eight-by-ten now as far as I know there’s only one guy in the country
selling these things is in Florida his name is Scott helberg the name of this
company is beautified their masks calm and if you happen to be a customer of
pounds or nations will give you a little bit of a discount that particular mask
right there is called the Marian mask I designed it because I didn’t like the
one that they were using standard but it makes it really easy to get head sizes
right now don’t get anything off of that there’s no kickback or anything okay
I’ve kind of gone through this a little quickly so I’m going to be expecting
some questions shortly I want to give you a brief glimpse at some of the
future trainings that we’re going to be doing we’re going to have one on
introduction to green screen it’s going to help you become a green screen pro
without taking all the arrows and insults that someone breaking into in
green screen has to do green screen if you do if you hit a search for green
screen software you’ll get 180 1,000 hits everybody’s got an opinion well one
day images I have is that I worked with
hundreds of photographers on a daily basis and I know a hundred different
ways to break a steel ball the advantage of that is I’ve seen seeing the way it
should be done i’ll be more than happy to share my secrets with you here’s some
green screen attacks here but you can also use it for standard portrait
photography with a standard background to give your customer choice of
backgrounds and green screens not like it used to be an owner has that
appearance the software has gotten much better and if you use a lab that knows
what they’re doing they can certainly cut that green out and make it look very
realistic another presentation that we having in the future is simplified
outdoor portrait lighting and this is the way that one person can go out and
do really good portrait lighting with nothing but their camera and a stroke on
their camera you don’t have to have hot and cold running helpers holding scrims
and reflectors and things it’s an additive lighting technique and I’ve
been teaching it for years and it’s something that’s simple enough to teach
employees I know that when we hire people as photographers and quite often
don’t have the skills necessary to shoot outside and do it consistently well this
class will teach them now another presentation that we’re planning is
classic portrait lighting and in the classic portrait lighting presentation
will be going over not only how to build a classic portrait but also how to
correct for nature’s errors and somebody for example if they got a big nose or a
broad face a high forehead or they have no chin or anything on that line this
program will allow you to correct those things is called plastic-surgery with
the camera so that’s another very popular promotion and we’ll be doing it
again in a not too distant future we have some questions John one of the main
things people were asking before I think I posted publicly is that yes this will
be available to watch later and also Marion will provide as contact
information for you guys together or in ask questions and if you guys need me
training he does one on one training for our customers I think the first question
I see good yeah is about cropping to go back to your part of the presentation it
was just about the a 510 crop and what do you do turn in spring when you do
spring full frame and you’re doing different clothing I don’t if you uh
think you already did karma cooking go back to that they might have missed it
looks like as far as a lotta verses of up close I be heavy crop of that you
know being is a pipe end versus package let’s go back either one more slide here
I think this is going to be the one you’re interested in this is a full view
of the camera the 8 x 10 k area is the purple thin line and i always shoot so
that i can make an eight-by-ten if i want to make a five by seven i can
either come in on the edges of the eight but ten or i can show the whole thing
but if I don’t crop as if it’s going to be used as an eight by ten and I want to
make an eight-by-ten at sixteen by twenty twenty by twenty four or whatever
i’ll end up having to chop top and bottom so i want to make sure there’s no
body parts in those areas okay oh goodness there’s the question i know we
see that a lot with there’s a lot of cropping that happens afterwards and
they send it to the lab and then you know wondering why I think you’re so
different and then they’re losing sleep or the losing the top of the head that
seems to be a common question absolutely the mask comes in so very handy because
it’s got a line to the toe and it’s got a line to the top of the head you look
carefully sisters is a red line at the toe and a red line at the top of the
head those same lines are on the mask it’s Kenny can they see my arrow they
can’t can I think anything is dead they should go see you around thank you okay
I my name is laura harring oh my huh that’s a tow line this up here at the
top is the hairline so you don’t use it except for a head-and-shoulders portrait
there’s a gym line these will keep you out of trouble this area all the way
around is what I’m able to the crop to we have another question now we’re
waiting for questions I’ll show you another little bonus piece of
information hold on perfect okay the good side and the bad side of the face
this is how you can look at somebody until what side you should photograph
them from in reality a face is almost never symmetrical in fact the only time
a face is perfectly symmetrical as a high-paid model gym early with and
you’re looking at someone one eyes a little bit bigger the mouth is slightly
crooked and this is a more realistic thing where as you can see on this young
lady there’s greater distance from the corner of her mouth to her I on the
right then there is some the corner of the mouth to the eye on the left in the
older there was a TV show that lasted exactly one episode about three years
ago called dr. Jekyll and mr. Hyde where dr. Jekyll is a surgeon and of course
mr. Hyde was a different kind of surgeon in that show every time the photograph
thing is dr. Jekyll they’re photographing from only one side and
every time they photographed them is mr. Hyde the only photographing from the
other let’s look at what this can do for us you draw a line to the eyes and line
to the corners of the mouth they will dissipate will come together at one
point in the district that’s the point of that’s the point of distance what you
can do with that knowledge is when you photograph someone if you photograph
from that side of the face it looks Pleasant shooting that’s why the face
they look Pleasant but when you shoot from the other side of the face it looks
sinister let’s see that again you’ll almost never see this guy from the other
side it’s in his contract so if you had one now it’s in his contract so he’s
primarily photographed from this side same things true of Barbra Streisand she
has the same problem and if you photographing from this side its
pleasant on that side where the lines go off in the distance and separate they
look sinister so that’s a little bonus you haven’t
course you know I do see you hear about photographing people that are you know
and that heavier side ale ah that’s a wonderful if you’re doing a standard
head-and-shoulders portrait and you got somebody who’s built a little bit hefty
especially the ladies for the cost of the guys you want that you want to hide
that now I had a fire for once I felt hiding it meant living back so there had
to be smaller but that was totally the wrong thing to do by doing that they
just showed more of the body I stand a head-and-shoulders portrait quite simple
you pose them sitting on the stool up straight but then you have them lean
forward toward the camera from the hip the key here is from the hip this
projects the head out in front of the body holds the extra weight under the
neck tight and when you photograph them their body is further away than their
head for the head appears larger the body of your smaller also I always crop
up from the best of the best line whenever possible at someone’s heavy if
I shot a shoot too low then we’re just showing off the tummy and we don’t want
to do that now in general photography we turn somebody usually anywhere between
25 and 45 degrees to one side to the other and that Finn’s him but don’t
think that you can turn the more than 45 degrees because what will happen is
it’ll show off the weight mulch another good tip if you’re going to be
photographing somebody’s already make sure they’re not wearing a sleeveless
dress because then it’s impossible to hide things correctly ok now you can
actually say you know someone says point I wish you can take off ten pounds you
can look at it and say yes I can you pose them sitting up straight and lean
them toward the camera from the hip that’s a very good question actually I
have one more that I get it’s very common into a unless anyone nothing more
to type we have a question of glasses glare
that’s one of my favorites glasses glared you’re shooting in the studio or
she in a studio type situation and you have glass glare it can cost you because
in school photography that’s that’s the largest percentage of refunds because of
the glare in the glasses well this is part of my portrait class that’s when
we’re going to and share it with you now there are four tricks to getting rid of
glasses glare and the one that everybody does is wrong okay the thing is last
glare primarily comes from your fill light because that’s the one closest to
the camera the first step to getting rid of glass Claire is to make sure your
camera is higher than normal the correct height for a camera and a portrait is
eyebrow level center of limbs even with the eyebrows that’s the correct height
for most portraits but when you’re photographing somebody wearing glasses
we raise the camera to the top of their hair level it’s another four inches
higher at that point we’re looking down at them slightly and it helps get the
glare out but that’s step one if that doesn’t work you go to step 2 and step
two is you can tip the chin down little bit or turn the head slightly to the
side the definition of slightly is the diameter of a nickel if you tip the head
more than a nickel or turn to the side more than distance on the nickel
diameter of a nickel you’ll get a very odd-looking portrait and you would look
Lenny so again step one is camera by my level step 2 dip the chana turn the head
slightly if they have a weight problem you don’t want to be tipping the chin
step 3 works in ninety percent of the cases in step 3 what I do is I ask them
to take the glasses off and put them back on with the earpieces about a
fingers width above their ears now if you were doing a profile you’d see that
that earpiece is up above their ears but you’re not having them look directly at
you so with the earpiece is high the lenses are tilted forward the glass
glare is thrown out of the picture and that works on almost ninety percent of
all blast Claire it takes a little extra time to do that and since I’m dr
primarily can volume photographers I don’t want them to do that step till
they tried the first two which are quicker the fourth and final correction
for glass glare is not to raise the lights you’ll see blogs everywhere it’s
a razor leitz wetzlar well if you raise your life everybody have a little black
beard other than that not very pretty and you end up forgetting their lower
the lights and then everybody you photograph from then on as a goatee the
trick the fourth item the last thing you do is you pick up your fill light and
you move it out in the arc away from the camera so it’s close the same distance
from the subject that’s a foot further out this gives you a larger more open
area to get the glass clear out so the four steps of glass glare our camera
above head level number to tip the chin or turn the head slightly number three
hit the frames slightly no more than the thickness of your finger oh by the way
take those glasses off and put them back on or you’ll puff their hair up around
their ears and finally move the fill light the glass clear position which is
about a foot whether away it’s a wonderful question okay great
it’s better to I’m we can look forward to that I guess in future webinars which
also pay tax on my next the next question for Monday attendees which is
will to be a outdoor ography weather are playing yeah I was going to say the
outdoor class all you really have to do all you really need is a good way to get
an exposure that’s a 2 meter or a folk artists enclosure target and a flash and
a camera ideally a flash with TTL and we’ll show you everything they need to
know to get it done right all right I know we’ll definitely look forward to
that and many more of these complimentary webinars and thanks
everybody for your time for joining us today thank you Marion you’re very welcome
to everybody

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