Archived posting to the Leica Users Group, 2002/02/01
[Author Prev] [Author Next] [Thread Prev] [Thread Next] [Author Index] [Topic Index] [Home] [Search]At 09:50 AM 2/1/2002 -0600, Eric wrote: >David: > > >The third and fourth, I am looking for some advice for simple portraits. > >http://www.zuga.net/freelessons/JZCH1.shtml > > >Eric Great site Eric. That is e-x-a-c-t-l-y the kind of work older professional, knowledgeable, portrait photographers produce. This is not Leica photography, it is MF or LF work. This is what families want for their wall and mantle, and what executives want for their foyer and boardroom. What is displayed here is not Sears, Olin Mills, or other chain store portraiture. This is not annual report or artsy fartsy portraiture. It is the real thing. It is very good. And it is v-e-r-y difficult. These are very far from being "simple portraits." I'm sure they are eons beyond what you had in mind. But you should read about the lighting, the direction, and look at the separation of subject from the background, in appropriate places. There is a lot of information here that can be gleaned for use in other ways. After being taught the rigors of formal portraiture in 1959/60, it became very obvious to me, over the years, that there were hackers (Sears, K-Mart, Olin Mills, etc,) and there were professionals who had taken the time to learn the craft. Those of you who have not spent the many many months of formal instruction in this craft cannot possibly know what I am talking about. I can guarantee that without hard work over a long period of time (paying your dues) you will not be able to produce photographs like those shown on the referenced web sites. You will produce K-Mart specials, if that good. Look at Yousuf Karsh's portrait of Winston Churchill http://www.mfa.org/exhibitions/karsh.html or Einstein, Hemingway, Frank Lloyd Wright, Picasso, & Giacometti at http://www.westongallery.com/artists/y_karsh/yousuf_karsh.html Ultimately, what you are photographing is how light is reflected from your subject. What kind of light to use (natural, artificial, etc.), what reflectors and where to put them, how to get the face and facial expression to be THE dominant feature(s) when there is so much other stuff in the photograph, etc., is the key. Without experience and direction, one cannot hope to produce results better than just snap shots. A master of "subtractive light control," was a photographer named Leon Kennamer. He was written up in the September 1997 Rangefinder and wrote a book on the subject, with three other photographers, titled "Four Photographers." Leon produced formal portraits (sort of like those referenced above), and informal portraits. But he mostly using natural light (even in the studio) and usually natural settings. He never added light to a setting, he just removed the light he didn't want and manipulated the light that he wanted via black umbrellas and reflectors. He always shot at f/4 or f/5.6 around 1/60th (and slower) and always shot late in the day. No twinkie lights! His mantra was "Learn to see the light." Hello Ted... sound familiar? Leon Kennamer was an artist first and a technician second. This helped set him apart from his colleagues. He taught his artistic control throughout the world for 40 years, and was in great demand. Enough reminiscing... the bottom line is, if you want to take portraits that are stand-out examples, be prepared to work very hard for a long time. It is not an easy craft. This is why I stick to nature, landscapes, and other fine art stuff, or just stuff. It's a hellova lot easier than good portraits. I'm in awe of people like Ted and Leon Kennamer. And folks like Karsh, well... what is there to say other than just stand there, with mouth open, drooling! Jim Brick, BIPAA, ASMP, QRS, TUV, WXYZ - -- To unsubscribe, see http://mejac.palo-alto.ca.us/leica-users/unsub.html