Photographic self-portrait by Robert CorneliusUnidentified woman taking her picture in a mirror, c. V aircraft takes a picture with a camera attached to a wing-strut, InRobert Corneliusan American pioneer in photography, produced a daguerreotype of himself in which ended up as one of the first photographs of a person. Because the process was slow he was able to uncover the lens, run into the shot for a minute or more, and then replace the lens cap.
It received many favorable comments from readers so I've added it here at the beginning as an introductory overview. Becoming self-critical is the key to progressing up the learning curve so for each goal you set you should define criteria for success.
Having a clear idea of what body language makes a person look extroverted and glad to meet a stranger vs.
Learn to think strategically from goals and you can figure out any new lighting problem. It's really all a magic trick and like magic the secret in doing it well is understanding what the audience expects to see. When you deliver the message content of a photo in a way looks "normal" and real it will trigger the same emotional reaction as seeing the same thing in person.
This is an overview of my approach. The nuts and bolts techniques are contained the other tutorials listed below. Human perception is based on expectations. You know what a human head and face look like so the lighting style really doesn't tell you what the object looks like but rather the environment the object is in.
The emotional reaction to the content is often the result of whether or not the context of the environment seems "normal" or not. This tutorial explains our baseline for "normal" and how to mimic what is experienced in person in 3D in the 2D universe of a photograph. I use the spot between the eyes as the "Compass Rose" for describing key light placement and a three coordinate system similar to Lab color space to describe where to put the key light in space relative to the face.
To communicates to a beginner wanting to know where to put the key light can follow instead of the traditional labels like "short", "broad", "butterfly", "Rembrandt", etc.
It illustrates the holistic approach to lighting. It's not the light, but rather contrast and relative brightness of areas in the photo which triggers the brain to react and move the eye in a photo. This concept is the foundation for my contrast-based approach for teaching lighting.
A quick "food for thought" outline of how a camera captures an image differently that we normally perceive with our eyes. An overview of the three variables controlling exposure on a digital camera and a decision tree for deciding how to use them. An overview of the how color is managed with a digital camera and problem situations to be aware of.
The best measure of exposure is the last shot taken and using a white towel as a test target will allow your camera playback to tell you when and exactly where over-exposure and loss of detail is occurring. Used in conjunction with the Clueless to Competent tutorial for those who don't yet own studio lighting gear.
The type of fill and where it is placed relative to the face of a subject has a significant impact on the appearance of the highlights and shadows but is one of the most misunderstood aspects of studio lighting.
The first vital step, before the lighting lights are turned on is to find the most flattering camera angle and distance.
The nose and ears distract attention from them. Here I discuss strategies for minimizing the distraction.
Key light and fill reveals the face but it is the contrast of the face with the clothing and background which draws the eye of the viewer to it. This PDF format tutorial provides some effective strategies. It shows a minimalist approach for shooting furniture with only two lights, but the concepts also applies to lighting vehicles, jewelry and other reflective objects.
This tutorials explores composition and explains why the "rule of thirds" works; most of the time. I've found ways to incorporate the vocabulary and process of pre-visualization of scene and outcome in terms of zone placement and how to overcome the limitation of the short digital sensor range by using two flashes to overcome the contrast in outdoor lighting.Posted in Behind the Photo, Photo Essay, Photo Walks, Photography, Self Portraits, Uncategorized And if this makes you want to dabble in self-portrait fun, ponder joining me for one the upcoming self-portrait online class: Be Your Own Beloved!
An essay by the artist’s widow Patricia explains perfectly exactly why these images are so powerful; “In these pictures we see with heart-breaking intensity William’s efforts to explain his altered self, his fears and his sadness.” It’s hard to say whether the changes in his portraits came about due the loss of his artistic skills or due to changes in his psyche but, in either case.
R. Derek Wood's articles on the History of early Photography, the Daguerreotype and Diorama. This website uses Frames, but (if you see this text), your browser (must be very old) does not seem to support them, or is not configured to use Frames.
A portrait essay explaining the nature of the portrait and the circumstances in which he created the portrait, would make an excellent portrait essay. One could even write about the origin of self portraits, and what they meant to each civilisation in the portrait essays.
Galleries Self-Portraits. Photographs by Jen Davis, Essay by Hannah Frieser. Flak Photo is proud to feature this gallery in support of Light Work's Looking and Looking, a two-person exhibition featuring photographs from Amy Elkins and Jen alphabetnyc.com project explored the dialogue between these artists regarding identity, body image, and the male and female gaze.
Vivian Maier: Self-Portraits. C elebrated by The Wall Street Journal, Vanity Fair, The New York Times, American Photo, Town and Country and countless other publications, the life’s work of recently discovered street photographer Vivian Maier has captivated the world and spawned comparisons to photography’s masters including Diane Arbus, Helen Levitt, Lisette Model, Walker Evans, and .