By William S. McIntosh
From a grasp photographer who has photographed different recognized photographers, Joint Chiefs of employees for the armed providers, and the Aristocracy within the uk, this e-book offers a behind-the-scenes examine the paintings of 1 of the main acclaimed portrait photographers ever. Photographers persist with McIntosh's footsteps, uncovering astonishing settings, unique consumers, and masterful process. They discover ways to create environmental photographs in not easy destinations, regulate mild to its most sensible impression, and compose and pose consumers. With the pairing of educational textual content and greater than a hundred pictures that span McIntosh's profession, this ebook bargains a definitive examine the fashion, options, and creative contributions of this grasp photographer.
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Extra info for Classic Portrait Photography: Techniques and Images from a Master Photographer
A spotlight grid was placed on a 7-inch reflector almost directly over her face. Two 7-inch reflectors with barn doors were placed 135 degrees to the right and left rear to light her hair. Another 7-inch reflector with barn doors lit the background. No fill was used. (SUBJECT—Jeannie Wong Slaughter; DATE—2003; CAMERA—Mamiya RZ67; FILM—Fuji NPS, ISO 160; LENS—140mm) FACING PAGE—Photographed at the Winona School of Photography in 1988, the arms of four students were used as a frame for the model’s face.
I wanted just enough strobe light to keep some detail in the shadows. 6 and 1/15 second. (SUBJECT—David Soroka, bugler; DATE—1997; CAMERA—Mamiya RZ67; FILM—Fuji NPS, ISO 160; LENS—110mm) ABOVE—I traveled about two hours to photograph this family at their lake house. Whenever I can, I use the sun behind my subjects. It gives the portrait more depth and dimension and separates the subjects from the background. I like to use slanted ground to pose people on; it allows me to get more interesting asymmetrical poses.
The standard 5-inch reflector concentrates the light and will leave a harsh, dark shadow unless it is used very close to the 50 CLASSIC PORTRAIT PHOTOGRAPHY camera position. It is also more directional and would not have covered the groups evenly from side to side if it was placed close to the subjects. This portrait was made just after the sun went down. A Lumedyne bare bulb strobe was directed on the group and placed close to the camera position. The sky had very nice clouds, but I wanted them to be a little more dramatic.