Monthly Assignment #2: Natural Light Portrait [Sitemap]

Nikolai

Sep-12-2007, 09:21 PM

You all know him (and if you don't, you should :deal ).
You all love his work (and if you don't, you probably never saw it :wink )
And now you have a chance to learn from him. :clap

This month we will be shooting portraits, and our guide, expert, guru and teacher is no one else but Yuri Pautov himself!

We're going to learn a lot. This class will cover a lot of aspects, from basic shooting technique to exquisite "Yuri Pautov" signature post-processing to applied psychology.

It's not gonna be an easy task, but I'm sure the end results will be rewarding.

Speaking of the end results…
Just like in our previous assignment with Master Ken, there are specific tasks you need to perform in order to successfully "graduate" from this Class. These tasks are:

Interior portrait - by the window, clean b/g
Exterior portrait – "by the wall"
Exterior portrait - blurred background (street, field) or no background (skies, sea)I'm sure Yuri will come with some advanced tasks, but at least we have some concrete goals right off the bat.

This is the thread where you post your questions, entries, etc.

And now, without any further ado, I give you Yuri Pautov and the Natural Light Portrait! :barb

Yuri Pautov

Sep-12-2007, 09:25 PM

Hello, dear DGriners and guests!
First of all let me say my 'Spasibo' ("Thank you" in Russian) to Nikolai, who kindly gave me this chance to share some of my thoughts, my knowledge and technique with you. And, of course, Spasibo to DGrin!
Some brief bio.
I live in Voronezh, Russia, 500 km from Moscow with my wife Galina. Our daughter Anna is 28. I have been taking photos since my childhood. In 2002 I have pressed the trigger on my first digital camera – Sony F707. Later I changed it to Sony R1.
In photography I prefer portraits. In portraits I prefer women's portraits. Finally: my English could be much better if I'd spend much more time abroad… Forgive me in advance for my mistakes.
My photo gallery can be found at http://pautov.viplast.ru

As you already know, the subject of our class is 'Natural light portrait'.

One can read in books that the main purpose of taking portrait shots is to
1) show the character, or
2) to create a character.
In my case (I mean women's portraits), its showing or creating a Beauty.

We all know that 'photography' word itself means 'light writing' (BTW it was for discovery of photons that Albert Einstein received his Nobel Prize, not for his famous theory of relativity), so we will talk about the light.
The word 'Portrait' comes from the old French verb 'portraire' – to portray, to picture…
So we will also talk about what we need to picture – compositions, backgrounds, foregrounds…
And, definitely, we will be talking about models!

Table of contents

Part I. Preparations for shooting
They include:
a) Inspecting all gears that we need:
1) camera
2) tripod (for some shots)
3) remote (for some shots) – but if you don't have remote, you can use camera's timer
4) reflector (for some shots)
And, of course, afterwards,
5) computer, photo editing software (I use Adobe PhotoShop)
b) Finding a person to photograph.
c) Choosing time
d) Choosing place
e) Choosing dress

Part II. Shooting.
I try to use A priority while shooting. I also use tripod and remote for indoor shots and outdoors if the weather is dull. I try not to forget to use different points of shooting. From the ground. From above. I never stop talking with my model during photo session. I feel how silence is killing something between me and my model. And this ‘something’ is very important.
I use full zoom (135 equiv), but sometimes I use wide angle.

Part III. Editing

I tell apart Editing and Preparations for publishing.
If I have RAW (mainly) files I use my Sony software (Image Data Converter SR) to make jpg files. Usually I add sharpness (up to +30), have some work with white balance, EV and tone curve.
During Editing I try to work with some skin disturbing things only. Instruments used:Patch tool, Healing brush. I try to save edited photo as closer to the original as possible.

Part IV. Preparations for publishing

I like this part of photo work most of all, but frankly I always don’t have enough time for it.
I have a secret. I use some software, which helps me to get interesting results without spending much time. First I crop a photo. It is always a matter of taste. Then, depending on what I am going to do – web or print, I resize the image. And then I use my secret weapon.
It is called ‘optikVervelabs Virtual photographer’.
It is free downloaded from
http://www.optikvervelabs.com/

Sorry, but it is only for PC users.
These PhotoShop plug-ins gives me an amazing instrument for creativity.
I also often use Harry Behret’s method (as I call it, Thank you Harry!).
1.Ctrl+J – duplicate a layer
2. Choose ‘multiply’ blending mode
3. Filter-> Blur -> Gaussian Blur (4-20)
5 Set opacity to what you need

That is all.

Later I’m going to make some posts with details of things listed above . Some of these posts may have tasks for your homework.
I will be waiting for your questions, because it is easy to me to answer concrete questions then to ‘write a book’. Of course, we will have some discussions during our Master Class.
To be continued,
Yuri

Yuri Pautov

Sep-12-2007, 09:35 PM

I. Preparations for shooting

d) Choosing place

I try to pay much attention to the backgrounds. That is why when I drive my car, or walk along the streets, I always look for interesting backgrounds. Interesting colors of the wall and interesting texture of the door may attract my attention. Interesting building, or a part of a building. I make a ‘frame’ in my mind and look through this frame, zooming and stepping aside, imagining my model standing here or there, sitting or bending forward. I keep all these places in my mind. And I always try to work up the route of our photo session.
If we make indoor shots, our background readiness will be useful too. You’ll not waste your time looking for a place to shoot.
Please, pay attention to the light. The background that you have found in the morning may not work in the evening.
Choosing the background, try to find the one without horizontal /vertical lines, especially if those lines will be at model’s head level.
Here are some examples.
1. Ballerina portrait with theatre indoors background
http://pautov.viplast.ru/images/gallery/537.jpg

2. Colorful background
http://pautov.viplast.ru/images/gallery/1396.jpg

3. “Dark” background
http://pautov.viplast.ru/images/gallery/1358.jpg

4 Wood
http://pautov.viplast.ru/images/gallery/1636.jpg

5 Arch
http://pautov.viplast.ru/images/gallery/4674.jpg

6 Street / alley
http://pautov.viplast.ru/images/gallery/4254.jpg

So, the task for your homework will be choosing “A background for a portrait”. Look around and take some shots of such places. Tell us why did you choose them. Who will be photographed using these backgrounds?
(man/woman young/old and so on)
As usual, I am waiting for your questions.
Yuri

Invective

Sep-13-2007, 01:04 PM

Yuri, you have been one of may favorite posters since I first joined. No matter how busy, I always try to keep up with your work! I am ecstatic for this assignment! :D

george-1

Sep-13-2007, 02:28 PM

A friend has asked me to do some publicity shots for her band, I am estatic that this assignment has come along at just the right time.

I'm especially excited to learn Yuri's secrets, although from viewing his work I think the secret is hard work and talent.

Looking forward to learning.

Thanks, Nilolai, for this assignment.

--
George

pathfinder

Sep-13-2007, 03:57 PM

I am really looking forward to this months session, as are scads of other admirer's of Yuri's work, I am sure.:thumb

Nik - any possibility of holding this course for longer than 4 weeks since so many of us are going to be in Glacier for one or two weeks?

Nikolai

Sep-13-2007, 06:22 PM

Nik - any possibility of holding this course for longer than 4 weeks since so many of us are going to be in Glacier for one or two weeks?
Jim, we do not *close* classes per se, so you can always play later :wink
If there is a real pinch, we'll think of something :deal

pathfinder

Sep-13-2007, 06:55 PM

OK - that works for me:clap

evoryware

Sep-13-2007, 07:42 PM

Wow! Last months assignment really excited me about still life photography. But this; this is what I'm really interested in and Yuri's shots have been extremely motivational for me. I have a few questions but I'll wait till I have some pics.

Antonio Correia

Sep-14-2007, 10:16 AM

Popular party on the street in Moita, Portugal.
With bulls. Uuumm ... I don't like that kind of parties !:dunno
But people I'm working with told me to come and make some shots.

I had in mind, as usual, the assignments and the opportunity arose after a sandwich of beef and bread with a cold bear.:D

I thought that these two young ladies, one younger than the other, were a good target. I told them that I was going to shoot them and I asked a young man to hold the flash on the second shot, the one on the left, the 430 EX with the ST-E2 on the 350 D.

At the first shots, I had a reflection on that red. Look at the right photo please, where there is a small reflection just above the head of the young lady. I was holding the flash with my left hand as higher as I could.:wink

Then I told the assistant to move to my right and then click, click.
Well ?! ...:dunno How do you like it ?

http://antoniocorreia.smugmug.com/photos/195553788-L.jpg . . . . . http://antoniocorreia.smugmug.com/photos/195560957-M.jpg

...
Today is Sunday. I will keep posting here.
http://antoniocorreia.smugmug.com/photos/196429772-L.jpg ... http://antoniocorreia.smugmug.com/photos/196437718-L.jpg

On the left picture it is obvious that I have used the flash off camera holded by an assistant. I asked the model and he was cooperative.
The one on the right was a "surprise" shot but I have thought it with that back scene in mind.
http://antoniocorreia.smugmug.com/photos/196442179-L.jpg

In this shot I also used the flash off camera. The scenario is the natural one. I consider these pictures as portraits because as we can see, the gentleman owns the plain and is very proud of it ! :D
May be this is not your idea Yuri. may be you just want more uniform backs, more neutral, like the man in uniform ...

dlscott56

Sep-15-2007, 03:41 PM

Yuri, first of all thank you for taking the time to do this. Your photography is incredible and if feel quite honored that I will be able to participate in this assignment. As with last months assignment, I know that I will learn a lot and my photography will improve.

And now ... on to your first homework!!!

Here are several places I was thinking about that are easily accessible to me so that I can go back to them many times for re-shooting.

I chose this one because I thought it would be a peaceful, natural background, with little to detract from the model in the foreground.

http://4scotts.smugmug.com/photos/196000820-M.jpg

I thought this one had some interesting elements with the curved stair and railing in the background. There is a window nearby to provide some natural lighting, although this shot was taken in the evening so there was little light coming in.

http://4scotts.smugmug.com/photos/196000883-L.jpg

Not sure about this one it just seemed like some elements that could be used. The fireplace could be lit for some added effect. I'm just now noticing your comment about avoiding horizontal and vertical lines so this one may not be any good.

http://4scotts.smugmug.com/photos/196000739-L.jpg

Yuri Pautov

Sep-17-2007, 05:21 AM

Backgrounds. Part 2.
Choosing a background is a very important part in preparations for portrait photo session.
Keeping some ‘true’ backgrounds around you in mind will help you a lot in taking portraits. These will be ‘tried’ places. Because the mistakes you’ll make (with horizontal lines of a picture’s frame hanging on a wall and coming off the head, for example) will correct your collection of backgrounds.
Simple background is always needed. Simple background will never take away attention of your photo’s viewer. Simple background is so to say ‘the support’ of the main subject in the photograph. Your Model, or the Hero of the portrait.
Your background may be a part of a wall. With its texture, its color. Or an old metal or wooden door. Dark space. For example, your garage without lights, when looking into it in a dull day. Blurred perspective. And so on.
We remember the rule of ‘taking white on black and black on white’. That is why try to have several different simple backgrounds.
Adding details to the background may have several purposes. Background’s lines (elements of landscape or interior) may ‘lead’ viewer’s look to your model. This is a secret of your composition. And it is important to disengage yourself from the content. Leaving only lines and forms in your mind.
Details may also say something about the profession of the portrait’s hero. About his surrounding. They create a mood. Blue sea, flowers in a vase, old building for example.
Background is a matter of taste. Your taste.
In other words, background may become your ‘corporate identity’.

And so, we will continue our homework called ‘Backgrounds’.
I’ll be glad to see several backgrounds chosen by you with trend from simple to the more complicated ones.
Again it will be fine to read your comments. Why. Who will be a Hero of a portrait with this background? Young, old, male, female and so on… Whom do you see with this background?
Strange, but paying much attention to the background may help you in choosing your model!
Creating a pose. Choosing a dress.
Your background makes you 'see' your model!

So, its your turn.

To be continued,
Yuri

Antonio Correia

Sep-17-2007, 05:53 AM

This is a photo where the background, not choosen by me, plays an important role.
The young boy belongs to the background and is involved in it. makes part of it. He couldn't be anywhere making such a shot with his mobile.
This picture tells a story. What is he shooting ? On a tree ? :dunno
Hope you all like it. I do. :D
http://antoniocorreia.smugmug.com/photos/195574890-M.jpg

Yuri Pautov

Sep-17-2007, 06:07 AM

I will also 'play the game'.
I took my camera and made some shots not far from the place where I work - SPARTAK multiplex (6 hall cinema, cafe, two coffee houses, bowling, billiards and so on..), choosing backgrounds.
1 Indoors. I will use it on a sunny day. Maybe with a reflector. I choose several parts for standing and sitting on a stairs model. Wall’s texture is original, so I will put my model not far from it and won’t blur my background much using DOF. I can make close-up portrait as well as full-length one. Age doesn’t matter.
http://pautov.viplast.ru/images/gallery/5370.jpg

2 Outdoors. These mirror windows can become original background! Must be careful with all these vertical lines.
http://pautov.viplast.ru/images/gallery/5371.jpg

3 This small building has several solid colored parts. I can make half-length portrait of models with bright or dark hair.
http://pautov.viplast.ru/images/gallery/5372.jpg

4 These door and stairs are interesting for full-length photo. Can play with DOF, using the street perspective of model on a stairs. Also interesting gray background.
http://pautov.viplast.ru/images/gallery/5373.jpg

5 The street lamp with blurred street background is interesting. Such a street detail…
http://pautov.viplast.ru/images/gallery/5374.jpg

6 This building is interesting itself, but could also be a wonderful background for a long legged blonde… Especially with ground point of shooting.
http://pautov.viplast.ru/images/gallery/5375.jpg

7 This building of an old factory is also interesting due to its perspective, detail’s repetition.
It may be good for close-up and full-length portraits also.
http://pautov.viplast.ru/images/gallery/5376.jpg

What do you think?

Antonio Correia

Sep-17-2007, 06:31 AM

Yuri.
Your approch is quite different from mine, I think. :dunno
I don't look for the place to photograph people in.
I do have some difficulty getting the models. Just a few moments ago, I asked someone and she told me may be yes, may be no.
Then, I asked directly: Well, yes or no ? :scratch KISS ! :D
The final anwser was NO.

So, I try to get people where they are. Like in the shots I have posted here before.
I have asked and people said OK.
Then, I took the chance and went ahead.
As you can see, I have quite different backgrounds for quite different persons/scenarios/situations.
In the pilot I have choosen the background. Clear, uniform, linear.
The other pilot, near his plane. Association, story, involvement, participation, ownership.

I am sure that certain people here will have more difficulty than the others.
Let me put it this way:
If you go to Vietnam - and this is my experience - people sometimes or most of the times, turn their faces because they don't like to be photographed. May be an European like me bring to their minds other memories ...
But, for example in Burma, Myanmar - a terrible militar dictatorship - you meet people smiling and very happy to be photographed, the same happening in India where, it is possible they ask you to be with them in their own pictures ... :D

In Portugal, it is getting more and more difficult to take pictures of people in the street.
I have been to the States once and I have not - I was not addicted to photography yet - that kind of experience but I suspect that tacking pictures of people is very difficult, mainly in the great urban areas.

Russia ? Never been there. Yet.:D

That's it for now.
:thumb

Yuri Pautov

Sep-17-2007, 06:35 AM

Thank you dlscott56!

I chose this one because I thought it would be a peaceful, natural background, with little to detract from the model in the foreground.
I like this background. At the same time must say, that if you are planning to use your photo for web, all these leafs will make your photo very 'heavy', because your portrait will have a lot (!!!) of details on the background. Of course if you won't blur them, using DOF.
Another thing is green color. Yes, it depends upon the light, and the point of shooting, but somehow the green color will be on the model's face. Mainly because of green surroundings.

http://4scotts.smugmug.com/photos/196000820-M.jpg

I thought this one had some interesting elements with the curved stair and railing in the background. There is a window nearby to provide some natural lighting, although this shot was taken in the evening so there was little light coming in. Yes, its really an interesting place. You can place a model on a chair. As you understang, the model's dress must be appropriate. But this round thing on a wall - green wreath? It may become a part of a composition, leading OFF the portrait.
The stairts are also interesting. But these dark things on 7-8 stairs level. And also a chair. I like a wall -it can be used for close-up portrait. Age and sex doesn't matter.

http://4scotts.smugmug.com/photos/196000883-L.jpg

Not sure about this one it just seemed like some elements that could be used. The fireplace could be lit for some added effect. I'm just now noticing your comment about avoiding horizontal and vertical lines so this one may not be any good. I like this brick background. And yes, this painting can disturb the composition, while the vase can balance it. For example, the model, leaning on this white thing on the right with vase on the left. The dress must be 'classic' as vase!

http://4scotts.smugmug.com/photos/196000739-L.jpg

Yuri Pautov

Sep-17-2007, 07:22 AM

Yuri Pautov

Sep-18-2007, 10:07 PM

Preparations. c), d), e)

TIME , PLACE AND DRESS

Of course, we are talking here about preparation period, when you have an influence on what is going on.

I prefer morning and evening time. But if the day is dull and the light comes from ‘everywhere’, it is your time for street / outdoors portraits. If I have to photograph at daytime and the sun is hot, I choose ‘shadow’ places. Big buildings, for example. If you see that there’s not enough light (overcast day), and you must use, for example, 1/50 or more exposure, just take a tripod with you. If you have a remote for your camera, take it also, because small camera vibrations can cause blurring of your final shot. Yes, you can use timer instead of remote, but in this case the model’s great emotion can fly away while your timer will count 3,2,1.
We have already talked in previous posts about the meaning of backgrounds and I am waiting for your homeworks and your questions.
Don’t know about the places you live in, but here in Russia, when women are preparing for some outing, they ask themselves, often aloud, the same great question: ‘What to put on?’ Of course, this is also the question of the model. When I have a talk with my model before our session, I ask her to avoid white dresses. Don’t know about your cameras and lenses, but white dress is a killer for my SONY R1. Yes, we can make portraits with white dresses (wedding photography), but if you have a chance not to do this – take it. Now I will tell you a secret: “The more ordinary dress your model will have – the more your portrait will look like a snapshot!” Ask your model to take several kinds of garment. I often even use naked shoulders of the model in the photograph (cropping dress afterwards) to make the portrait unusual.
I also ask my ‘models’ to be modest with their make-up.
And so, with all this knowledge, we are ready to find a model for our portrait work, what do you think?

Yuri Pautov

Sep-20-2007, 01:00 AM

Engaging a person

I understand that this post will be the most ‘polysemantic’ so to say.
Of course, some methods or tips which can help a photographer in one country (Russia, where I live, for example) can be used with some caution in another (Germany), or cannot be used at all (Saudi Arabia, or Egypt). So, taking into consideration that we live in different countries with different traditions, I nevertheless think that I can share with you some of things I do here.
At least, in case you’ll visit the city of Voronezh, Russia, where I live, work and take photos, you’ll know what to do :-)
I myself use different approaches, and the people could be either unknown or known to me.

Sometimes I see my future 'model' but I notice that it's not the right time or place for my approach. In this case I try to become acquainted only. I have my business cards with me, with my photo gallery address and phone number.
I think that such a card (with email, web, phone and your name and maybe your photo) plays an important role.
And my friend Vladimir – a pro photographer, who worked in Israel, Russia and other countries for a long time agree with me.

Unknown.
The overwhelming majority of my portraits are of unknown to me people, whom I meet on the streets, at café, hospitals. With some of them, after our sessions, I continue relations and even have some new friends.
I tend to walk around looking at the people around me with a friendly, open look, filled with interest. And when I see a 'potential' model, I never hide my emotions. Yes, I understand, it is hard to make a first step and start talking.
And the fact of talking with unknown person itself might be strange in your country. But… If you have a friendly look, REAL interest in your eyes, no ‘Stone in your bosom’ as we say here, then why not make this first step?
Model’s eyes are of my special interest. You might have heard the term “Yuri’s eyes”. It is true. Exactly eyes attract my attention first. And people feel this.
Whatever you do, you’ll have eyes contact with your future model first. And in my case, I have A FEELING. Name it intuition but I think that EYES SAY ALL!
What to do next? Depending on your feelings.
You may draw aside your look, if something tells you ‘Oh, no…’
Or,You can make a first step.
I am keen on psychology, and though it is not my profession and I have no special education, I’ve read and read now a lot of books.
Reading some psychology books will be my advice to you.

There is an approach of ‘triune sentence’.
1 part ‘I understand that…’
2 part ‘still/ but/ at the same time….’
3 part ‘It’s you to decide though’

In the first part you say that you understand your ‘interlocutor’, in the second – what you want. The third pass the decision to the one you talk with.

For example
I understand that it looks strange that I start talking with you, but I am an amateur photographer and after I saw your beautiful eyes, I imagined what a wonderful photograph portrait could be done, if you don’t mind. It is you to decide, though.
(Book: How To Deal With Your Acting Up Teenager Bayard, Robert T)

After your first steps of conversation, you can receive one of three answers: 'Yes'(Or so) / 'No (or so)' / 'Later' (or so) Must say that I have received 'No' very rarely – must be only five or ten times. I often heard 'Oh, I am not that photogenic…' – that's an encouraging answer, and it's my turn to say that its not true…
It was not easy for me to stick to people in the streets, when I started. But I did it.

It is very important: you must have REAL FEELINGS and you must LOOK INTO the EYES.

Known

We are not alone on this planet. We have co-workers, neighbours. We visit the same places with the same maintenance staff.
At list, sure you have your relatives and friends. You have relatives of your friends. And so on. Try to talk to them and ask to be your models.
More shots, more practice – more experience…

I usually give my 'models' CDs with photo session's results. And present them several 30x45 cm prints. If you are not so 'rich' :-) you can limit yourself with CD only.
And…
I always have a model release with me, and ask to sign it. I try to do this before shooting…
Yes, you can also do this later, before posting/printing. But you must HAVE A RELEASE.

HOMEWORK: Find yourself a model, who will help you to take portraits.

To be continued,
Yuri

Antonio Correia

Sep-21-2007, 02:14 AM

http://antoniocorreia.smugmug.com/photos/198408024-M.jpg

A militar with a militar background.

Yuri Pautov

Sep-24-2007, 12:54 AM

Part II. Shooting

1. Some words about the ‘atmosphere’ of shooting.

So, we have our backgrounds, our model is ready for photo session. Let's do it!

I try to use the places with less people around. Not to embarrass my 'model'.

I often tell my “models” that the first 100 shots of our photo session can be easily deleted. This is because the model is not relaxed enough. After 100 shots he (she) usually gets tired of the photographer and of the procedure itself. This is what we were waiting for! Sometimes even some gymnastic exercises are needed to overpass model’s tension.
I once photographed a girl and whatever I did, I couldn’t make her be natural. She was full of tension and pretense . After 50 shots I said: ”Thank you”, put my camera to the bag and pretended that I’m going away. (She had a sigh of relief, as I heard :-) I stopped on a halfway and returned back to her. “I understand that you are tired. But may I take some more 10-20 shots? I just want to try another pose in a doorway.”
She was tired of me and I had to do my best to get her agreement. But the results justified my hopes. Relaxed model!
Compare these two:

http://pautov.viplast.ru/images/gallery/2138.jpg

and

(http://pautov.viplast.ru/images/gallery/2140.jpg)
http://pautov.viplast.ru/images/gallery/2140.jpg

(http://pautov.viplast.ru/images/gallery/2140.jpg)

Later, my friend and pro photographer Vladimir, asked me to introduce him to this ‘model’. As a result her photos appeared in a popular magazine.

The calm, friendly atmosphere is very important. I always talk to my models. I have a lot of funny stories. I TRY TO BE INTERESTING to my models. On the other hand, of course my models are very interesting to me. Their life positions, interests, views.
I am sure the if your ‘model’ feels your REAL INTEREST, then he or she becomes natural.
Sometimes I use some tips, for example, ask my model to multiply 14 by 6, or count all the legs of all the chairs in the room during shooting. Sometimes ask to remember the last kiss…

Again, I am waiting for your questions.
Yuri.

To be continued.

Yuri Pautov

Sep-24-2007, 02:45 AM

A militar with a militar background.

Spasibo (Thank you in Russian), Antonio!
Surely he just shoot something special!
You found an interesting background for your photo!
It is blurred enough not to attract much attention, but at the same time we can recognize something military...
Thank you again for your work,
Yuri

Antonio Correia

Sep-24-2007, 03:18 AM

You are absoletelly right about what you have been saying but as you know, all depends very much of the social context.

How many pictures of Americans do you see in this assignment ?:wink
How many peopel don't care for beeing in the net ?

See what I mean ? I do have written about this before.

Today I am going to shoot a baby, 1 year old, Maria Luisa. She is quite a model. She doesn't care about me at all ! Fantastic. That's what I want ! :D

The other day I asked a 40 years woman who is working with me to make a session. She told me that we would do so in December when she will be 41 and she had to go with someone else. May be she thought I could rape her !:D
Another woman just told me: what for ? To the net ? No way.

Huuummm may be I have to ask some guy around here, like the photos of workers I shot some time ago (http://antoniocorreia.smugmug.com/gallery/1637055#187153536).

But because there are so few new pictures I dare post here 3 I shot last year. Excuse me for doing so.

I have been re-treatting these pictures yesterday.

How do you like them, I mean ... the pictures. :wink

http://antoniocorreia.smugmug.com/photos/199298852-M.jpg . http://antoniocorreia.smugmug.com/photos/199417505-M.jpg . http://antoniocorreia.smugmug.com/photos/199442769-M.jpg

Antonio Correia

Sep-24-2007, 02:26 PM

Natural light with the help of a flash :D
Family in the stairs and look who is there.

http://antoniocorreia.smugmug.com/photos/199959623-M.jpg . http://antoniocorreia.smugmug.com/photos/199958252-M.jpg

Invective

Sep-24-2007, 03:44 PM

Took my neighbour into the backyard. We were losing light fast, and I have no reflectors. I used the white wall as much as I could to eliminate shadows. It was fun regardless!
http://i12.photobucket.com/albums/a218/Invective/Robin01.jpg

http://i12.photobucket.com/albums/a218/Invective/Robin03.jpg

http://i12.photobucket.com/albums/a218/Invective/Robin07.jpg

A couple of goofy ones...
http://i12.photobucket.com/albums/a218/Invective/Robin05.jpg

http://i12.photobucket.com/albums/a218/Invective/Robin08.jpg

And my personal (and Robin's) favorite.
http://i12.photobucket.com/albums/a218/Invective/Robin02.jpg

Antonio Correia

Sep-25-2007, 02:26 PM

Yuri !
Talk to us ! :D
Come on. :D
Say you don't like the pictures:cry, say you do like them:lust, whatever !:dunno

Don't be ashamed :rofl
:rofl:thumb

Yuri Pautov

Sep-25-2007, 10:57 PM

Took my neighbour into the backyard. We were losing light fast, and I have no reflectors. I used the white wall as much as I could to eliminate shadows. It was fun regardless!

Spasibo (Thank you) for your work, invective (sorry for such a form of address, cause I don’t know your name).

If you don’t mind, I’d like to ask you to
1) Put numbers for your photos in a post.
2) Post not more then 2-3 portraits at once
(But I don’t want to limit the number of your background photos at all :-)

So, six photographs.
Sure, you yourself can find some mistakes here. Look!
#3 and #5 have some 'things' (borders?) going out of the head of a model.

#1 also has a line, made by the white plywood(?) edge and deep green tree. This line also cross the head of your model.

#2,#4 and#6. Yes, 'shoot white on black and black on white'. But! White background for close up portrait in your light conditions (no reflector, lack of light) will EAT the brightness of your model. Thats why we loose some details in dark areas. I think that using white background with low light was the main mistake.

If you can disengage yourself from detalis and see only form and lines, you will find dark circles on eye's places on #2 and #4. Not enough light.

Yes, the last one is better - you managed to find some light to the face (PS highlights of shadows, or real light?:-) Just a joke). We see shadows of the jacket and even jersey's shadows on the skin.
Yes, background plays REAL role in that last one.

Invective! Some additional comments.

1.As I can see, you didnt use zoom here. The first photo seems to look wide angle. I try to shoot at 100-120 (Equiv. 135). Playing with F stop (setting it to low number), you can add much to your portraits by DOF, opticaly blurring the background.
2. The same (vertical level) point of shooting. Try to change it during session. You can change this point by placing your model - for example offering a seat, or you can put your camera higher or lower.

3. If you model has different size of eyes, try the smallest to be closer to the camera. For example, you can ask your model to turn her head to the right (3/4) but look at you (to the left)
4. I'd make another crop of the last one, but that's another theme...
5. There's some tips about eyes PP but thats again another theme, we will talk later.
6. Try to make some distance between the model and the background (just one/two steps. Not always)

That's my critique and comments.

At the same time I must say that the artistic part of your photos are of very high level. I FEEL your potential!
Again, Thank you VERY MUCH!
Waiting for your next part of portraits,

Yuri

Yuri Pautov

Sep-26-2007, 04:02 AM

INDOORS portraits

HOMEWORK. Take some indoor portraits BY THE WINDOW. While taking them, please, take some more photos with wide angle, or from another point, so we could see what’s going on around: where is your window, any reflectors, where is your point of shooting, where is your model. You may ask someone to take a photo of you, taking photos :-) Post here your best results - two or three portrsits.

Please, pay attention to the light. The more ‘divided’ light will give you details not only on that side of the face, which is closer to the window, but on the opposite also. On the other hand, the contrast between the different light coming to your model’s face from left and right brings some drama to the portrait.

Try to make several photos with different poses. En face. ¾ from left / right. Some shots from above. Let your model look into your camera. Let her/his eyes will be the magnetic center of the composition. This will demand a good work with light from us. Model’s eyes must be visible in your portrait.

Yes, there will be a problem with dark eyes. Besides, this contrast window light can make the second eye invisible. Change your point of shooting in this case. Change model’s pose.
You may look at some ‘window light’ portraits at my gallery

yuri.pautov.ru (http://yuri.pautov.ru)

and pick up some poses there.

There is a trick in post processing, which helps a lot in case of dark eyes. Add a new empty layer to your photo. Using a white pen, paint on eyes (iris, or the whole eye, but inner part so to say). Change blending mode of this layer to ‘Soft light’. Set opacity to 20-30 or what you need. You can also use the color of the eyes instead of the white color to paint.

My homework.

So, this is me with tripod, remote and SONY R1. I am looking to the live preview and asking my model to turn her head a bit. You can see here a background I choose sometime ago.

http://pautov.viplast.ru/images/gallery/5397.jpg

From another point, showing live preview to you
http://pautov.viplast.ru/images/gallery/5395.jpg

As you can see, this is a sunny day with a lot of light. It is reflecting from the walls, floor. I decide to use my reflector. Meanwhile, the reflected light is on me…
http://pautov.viplast.ru/images/gallery/5398.jpg
This is a light reflecting from the wall and from a reflector.
http://pautov.viplast.ru/images/gallery/5399.jpg

As I told you, never stop talking while taking photos… Silence is killing…
http://pautov.viplast.ru/images/gallery/5396.jpg

And, in the end this pair:
That is what I want you to show me in your home work.
Environment
http://pautov.viplast.ru/images/gallery/5400.jpg

and result.
http://pautov.viplast.ru/images/gallery/5394.jpg

Sorry for my English. Your questions, please.

To be continued,
Yuri

Invective

Sep-26-2007, 08:12 AM

Spasibo Yuri! I will take all of this and head out again! My name is Lindsay, I don't mind Invective though! :D

Spasibo (Thank you) for your work, invective (sorry for such a form of address, cause I don’t know your name).

At the same time I must say that the artistic part of your photos are of very high level. I FEEL your potential!
Again, Thank you VERY MUCH!
Waiting for your next part of portraits,

Yuri

Yuri Pautov

Sep-28-2007, 03:38 AM

Shooting outdoors.

HOMEWORK 3.
Make some outdoor portraits, using your backgrounds. Choose two- three best ones and post here.

That’s my homework:

1 Me, taking photo with bright background
http://pautov.viplast.ru/images/gallery/5415.jpg
2 Result
http://pautov.viplast.ru/images/gallery/5413.jpg
3 Me, taking photo with darker background
http://pautov.viplast.ru/images/gallery/5416.jpg
4 Result
http://pautov.viplast.ru/images/gallery/5414.jpg

Again, I am waiting for your questions and homeworks.
Yuri

drcarl

Sep-29-2007, 09:29 PM

I am waiting for your questions and homeworks.
Yuri

...as am I.

I'm glad we have a month (and a lifetime).

Your English is certainly better than my (our) Russian; bravo!

Though I have not shot nor posted anything today, I admit that I enjoy reading your posts aloud, with my attempt at Russian accent.

Your content is very inspiring. I like to seeing your neighborhood, and you feel like a kind man to me.

Thank you for sharing with us...

:ivar (keep it coming):ivar

-- dr carl

evoryware

Oct-02-2007, 11:14 PM

evoryware

Oct-03-2007, 05:14 AM

I usually give my 'models' CDs with photo session's results. And present them several 30x45 cm prints. If you are not so 'rich' :-) you can limit yourself with CD only.

Yuri

How do you handle this? They give you their address and you mail or hand deliver it to them later? You set up another time to meet with them? You give them your address and allow them to come pick it up?

Nikolai

Oct-03-2007, 09:12 AM

Here's some pics of locations I'd like to shoot at.

I think you got a very good selection of locations. :thumb
My only concern is the bench, since it looks like being under the patchy foliage, so you would need a large diffuser or a cloudy day to avoid the uneven light. :deal

evoryware

Oct-03-2007, 06:34 PM

In the morning, you see that shade. Mid afternoon through evening which is when I would do my shooting, the building creates shade on that chair. :wink

Yuri Pautov

Oct-03-2007, 09:43 PM

How do you handle this? They give you their address and you mail or hand deliver it to them later? You set up another time to meet with them? You give them your address and allow them to come pick it up?

Usualy I give my mobile number or email. They call me.
As they have motivation (they want photos) - they always call me.
Sometimes they give me their mobile's numbers and when my present is ready - I call them.
We arrange for meeting. Usualy not far from the place where I work.
I give them my presents. They give me smiles :-)
(Sometimes they even dont say 'Thank you', because they are striken by their 30x45 cm photographs! And I understand them. Must say these are the happiest moments! How can one fix the price of such a moment?)

Yuri

Yuri Pautov

Oct-04-2007, 04:41 AM

Here's some pics of locations I'd like to shoot at.

http://dak.smugmug.com/photos/203511226-M.jpg

these are almost as tall as I am.
http://dak.smugmug.com/photos/203511327-M.jpg

http://dak.smugmug.com/photos/203511455-M.jpg

http://dak.smugmug.com/photos/203511459-M.jpg

http://dak.smugmug.com/photos/203511567-M.jpg

http://dak.smugmug.com/photos/203517975-M.jpg

Thank you very much for your work!
I like most of your backgrounds!
As for critiqures, I dont like the second - it has 2 levels - a wall with bricks and flowers.
The distance between them is small. I think that flowers will be too much, but... it depends upon too many things...
Once again, spasibo,

Yuri

Antonio Correia

Oct-06-2007, 02:41 PM

How about these pics ?
1 http://antoniocorreia.smugmug.com/photos/204757505-M.jpg 2 http://antoniocorreia.smugmug.com/photos/204756207-M.jpg 3 http://antoniocorreia.smugmug.com/photos/204753832-M.jpg 4 http://antoniocorreia.smugmug.com/photos/204763590-M.jpg 5 http://antoniocorreia.smugmug.com/photos/204746064-M.jpg

Felicia

Oct-07-2007, 08:03 PM

I haven't had time to properly document backgrounds. Could I still participate by submitting an outdoor shot? I try to squeeze in some photography time whilst managing my 3 little boys. Hence, a lot of my subjects in my shots are children.

http://feliciabphotography.smugmug.com/photos/204489152-L.jpg

http://feliciabphotography.smugmug.com/photos/204489239-L.jpg

Both of these were in dappled shadow so I had to use the on-camera fill flash stopped down a notch.

Nikolai

Oct-07-2007, 08:10 PM

Guys,
while nobody here can actually limit what you can and can't do, I do honestly think you would get the most of this little class of ours if you actually follow the suite. :deal
Otherwise why even bother, there is always People shots forum... :wink
Just my 0.000002 of the f/stop :dunno

Yuri Pautov

Oct-08-2007, 01:17 AM

MA 2.8 Part II. Shooting. 4. Model and Photographer.

Often people, when being placed in front of the camera, feel themselves rather embarrassed. They don’t know what to do, where to look, how to busy their hands and what to do with legs.
There are two kinds of beauty: spiritual and somatic. Yes, we can show the somatic beauty in a photo. But the spiritual beauty can be shown indirectly, with the help of associations, imagination and life experience.
The beauty is natural. And all the natural is a demonstration of REAL FEELINGS.
The try of model to look unnatural, unnatural image, pose, in any case will lead us to fail.

http://pautov.viplast.ru/images/gallery/5426.jpg

How to look natural? You can say something to your model.
(I hope there are some people whom you can call and invite to photo session…)
“ Try to study yourself. In what pose, for example, you are watching TV, make your every-day things. You will find not that much such poses. To remember them in a physical level, close your eyes after taking a pose. Try to slightly stir all the body extremities. And try to remember your feelings. In acting technique it is called ‘physical action memory’. Then after some time, try to reproduce the pose.
Object in your hands. In front of the mirror, try to find such a pose, that your future viewer will certainly recognize the object you hold in your hands: a book, a pen or something else… After some practice, do the same in front of your relatives or friends in order to make sure that the sign system of your body and mimics are clear to all….”

BTW, this might become an interesting theme for your talks with your model. If you’ll find and read some books about acting technique, you’ll have a lot of info!
The other theme may be commenting to your model what you are doing while shooting.

Some ataractic methods.
(Though we are talking about Natural light portraits, these methods can be used for Studio shooting also)

1. Relaxation
Sometimes all you need is a cup of tea or coffee with your model before session.
2. Contact
Photographer talks to his model, trying to get into contact with him/her. The aim is to find a common language.
3. “Paparazzi” or hidden camera
Not easy one. Interesting results can be achieved when you are not visible to your model. Once I had a session with my model, shooting her on her way from work. (I called this “Playing Paparazzi”).
The same principle is used when two photographers are shooting. The second photographer make shots after the first, in ‘relaxed’ moments.
Or when “accustomed to the camera“ method is used. A photographer with his camera walks for a long time among the people. Little by little they get used to him.
4. Mirror
Photographer places a mirror behind or under his/her camera. Model can control his/her pose, expression.
5. Home
Some photographers make their sessions at model’s home. Such photos are closer to reporting portraits, but… Models look natural among the usual surroundings…

6. Drawing away
You can busy your model with something thus drawing away her attention. He/She will stop controlling him/her self.
7. Collective
Your model brings somebody with him/her.
8. “Understand me”
Photographer starts playing a role of a man/ woman with bad articulation. Your model can’t understand you. But trying to understand you, he/she forgets all his/her fears and complexes…
9. Example
Photographer shoots his/her neighbor before model's very eyes… Then comes a model’s turn. (Oh, that’s not so frightful!)
10. Switching attention.
The essence is to say something very unexpected, trying to provoke a smile.
11. Flattery
If your model has some defects, you start extolling them, to blunt his/her complexes.
12. Praise
Photographer attracts attention to the most winning parts of the model.
13. Fantasy
Photographer in colors paint some fantastic situation or describes a fantastic place where model finds him/her self. After being inspired, your model tells you that he/she is ready…
14. Parrot
Photographer asks to repeat after him some tongue-twisters, verses… In such a situation your model cant control his/her body.
15 Hypnosis
Photographer is talking incessantly, giving his/her model a lot of info. It’s a kind of hypnosis, as your model implicitly executes all the commands you give him/her inserting them into your stream of words…

Once again:Sorry for my English,

Your thoughts, questions, homeworks…
Yuri

Yuri Pautov

Oct-10-2007, 09:56 PM

Tips about exterior. Face.

Some of these tips are for photographers.
Some of these tips can be used by models not only for portrait shots. You can tell your models about them. Before session :-)
Special thanks to my barber, who helped me a lot in preparations for this lesson.
Asymmetry
In case of the evident asymmetry we don’t make front portraits. If it is still needed, we use irregular face lighting to hide this asymmetry.
Note. The better lit part of the face will look wider.
If one of model’s eyes is smaller than the other, we (sometimes) can emphasize this feature. Make your model squint one of the eyes, or open his/her eyes as if in astonishment… Our viewer will be distracted.
If the nose is placed asymmetrically on the face, or its base is down, then the best way is to shot half face or semi-half face
Round and wide face
High hats suits round and wide face, low hats – narrow, long faces. Parting model's hair in the middle, smoothly combed to parts the hair add more roundness to such a face. Such a coiffure also makes the neck shorter. It is not recommended to show model's ears.
Elongated face (narrow and long)
It is not recommended to wear smooth hairdo or parting hair in the middle. Or comb the har back . In order to shorten the length of the face by sight and make its contour wider, use a coiffure with the most of the hair concentrated on each side and over the forehead.
Massive features
It is recommended to ware smooth hairdo without bulky details.
Small features
Small details of hairdo are not recommended.
Stuck out (bulged) ears
Not recommended to photograph en face, without covering ears by hair or hat. Back lighting shouldn't be used either.
Double (multi-layer) chin fluently grading into the neck
For men it can be corrected by the beard, for women – by the high coiffure, might be as well with ringlets at temples and the back of the head.
Massive chin
Short hairdo with hair shorten towards the back of the head or hairdo with main hair mass closer to the neck.
Small chin
All hairdos creating a straight, or at least, neatly designated line from the chin to the temple.
Large nose
It will not be evident at the portrait if the point of shooting a bit below the face level or in case of en face photography.
It can be hidden with the help of coiffure with hair on the forehead and cheek.
Also flowing hair or a hairdo with hair gathered at one side on the back of the head.
It is not recommended to wear coiffures with the strong geometric lines, or parting hair, or with small ringlets and also with hair at the lobes of the ears.
Long nose
Can be hidden by the hairdo with the hair on cheeks. Not recommended to wear smooth hairdo or coiffures with the hair combed back or symmetric hairdo.
If the hairdo at half face repeats the nose contour form, the nose looks longer. A hairdo with flowing lines leading to the back of the head, makes the nose shorter.
The nose looks much longer if the model bend down her face.
Short nose
The hairdo must have exaggeratedly round shape.
High forehead
Straight or combed to side fringe
Low forehead
A smooth hairdo is not recommended to models with low forehead and high eyebrows.
To hide the hair border it is recommended to wear massive, high and fluffy coiffure. Also a hairdo with asymmetric fringe is advisable.

rhommel

Oct-12-2007, 05:19 AM

Hello guys,
I just read the thread and I find it really informative and very interesting. Thanks Yuri!

The following photos below were taken using natural light, and using a reflector to even out the lighting:

This is Kendra, she is tall, slender and very beautiful. The light source is the window at the back and the reflector is at the model's front left.

http://farm2.static.flickr.com/1132/1470722718_fcb5fc4b40.jpg

This is Amanda: Using the same chair, positioned it farther from the window. So the light source is coming from the model's right side and the reflector on the model's left. I like this shot a lot because this was not a planned one. I caught her looking at her legs while trying to change her pose

http://farm2.static.flickr.com/1241/1461383964_df255729da.jpg

Post-Processing: 1st shot, just adjusted levels and converted to B&W. The 2nd shot is unedited, just cropped tighter and converted to jpeg

Nikolai

Oct-12-2007, 09:34 AM

Hello guys,
I just read the thread and I find it really informative and very interesting. Thanks Yuri!

The following photos below were taken using natural light, and using a reflector to even out the lighting:

This is Kendra, she is tall, slender and very beautiful. The light source is the window at the back and the reflector is at the model's front left.

This is Amanda: Using the same chair, positioned it farther from the window. So the light source is coming from the model's right side and the reflector on the model's left. I like this shot a lot because this was not a planned one. I caught her looking at her legs while trying to change her pose

Post-Processing: 1st shot, just adjusted levels and converted to B&W. The 2nd shot is unedited, just cropped tighter and converted to jpeg

I love it! Great work! :thumb

Yuri Pautov

Oct-13-2007, 08:27 AM

Yuri Pautov

Oct-15-2007, 04:27 AM

Tips about exterior. Figure.

Note: All these recommendations are for models. But I think that photographer MUST know them and use them in his practice. This might be a theme for a talk with a model. Or a knowledge for the construction of your compositions. Cutting of a photograph. In any case I think this information will be useful not for women only :-)

1. THIN FIGURE
Bright and warm tones, which visually increase the body’s size, must be used. Also textiles with wide transversal stripe or frequent and narrow lengthwise lines. It is not recommended to uncover or fit close those parts of the body, which look especially thin. It is better to wear moderately close to silhouette dress in combination with luxuriant, expanding details. Only winning elements must be underlined: slender waist, long slim neck, etc. Smooth hairdo or short hairdo is not recommended.

2. FULL FIGURE
It is not recommended to women to wear blouses and skirts (trousers) of contrast colors (for example red and green), as they divide the figure for parts and underline the full body. Smooth material dress with small or middle pattern is most acceptable. To visually increase the height, one can wear long scarf, made of the same material as the dress. The dress with short close sleeves, wide belts, bright colored textiles with massive ornamental patterns and also volumetric clothes and ‘dimensionless’ dress must not be used at all. One must try to avoid fitting tightly fatty folds by the dress, especially by thin materials or jersey. White color as well as black, shining one does not suit. It is better to use numerous tints of white color.
Longhaired hairdo is not recommended for not tall people. They must wear short, top-oriented hairdo. The waist might be underlined by the tight belt, matching dress tone (of the same tone). Big bijouterie as well as large details of dress, vee-type neckline are recommended.

3. TALL
Dress a bit higher then knees and much more higher for slim figures will be right for tall women (>180 cm). Clothes with rare and wide cross lines, better of contrast colors, or frequent longitudinal and narrow lines with small intervals are recommended. Multi layer clothes will be right. Big sized checkered textiles and textiles with big size ornament with bright patterns of bright and warm tones are good. As well as wide belts, deep décolleté, collars and decorations in horizontal directions. Usually full maxi does not suit.
4. SHORT
It is recommended to use high-heeled shoes and avoid too short dress, big patterned and contrast textiles and also cross-sections and multi layers in the dress. Elongated dress mini and maxi. High hairdo. That must work.
5. Big shoulders
Big collars are no good. It is recommended to widen the hips by fluffy, light skirts.
6. WIDE HIPS
Do not wear straight and narrowed-down skirts. Must avoid visual accents on the hips and try to remove them to the breast or shoulder level. Demonstration of the naked shoulders is also prohibited, cause this only increases the disproportion. The dress, visually constricting the shoulder’s line, as well as wide hairdo are not recommended. It is better to use the next color combination: warm up and cold down.
7. LONG TRUNK
Not recommended: close, slinky trousers. Better to wear straight or trapeziform silhouette clothes with higher waist line or hiding its real line. The recommended length of shirts – a bit higher the knees.
8. SHORT TRUNK
A short trunk is a very well turned defect, as long legs were always considered to be ‘a part of a beauty’. Anyhow, if the needs of photo session still want to hide this defect, then the clothes with a lowered waist line must be used. Wide belts are not recommended. Visual division of the trunk on parts is undesirable too.
9. LONG OR SHORT HANDS
Try not to use poses with dangling hands. Better to use poses with bended hands, when the viewer has no chance to compare proportions of hands and figure.
10. LONG NECK
Longhair coiffure will work.
11. SHORT NECK
May be visually made longer by the hairdo with opened ears and also low-necked dress. Long flowing hair hides short neck pretty good.
12. DEEP SEATED EYES
Try to avoid from-top lighting.
13 CLOSE BY SEATED EYES
They are not photogenic. So try half face photographing.
14. SQUINT
This defect can be hidden also with a help of half face photographing. But also we can use model’s look directed somewhere down. Or a look can be directed to the side of squint eye.
15. BIG BELLY
Usually hard to hide. Better to move the accent on shoulder’s line. Preferably to wear straight or trapeziform silhouette. We can hide it also using dark dresses on dark backgrounds. Decollete will be winning for women.
16. HOLLOW, SMALL OR LOW BREAST
Try not to make accent by pose, nor by light. Better improve it with dress.
17. STOOPING BACK
Half-face is not recommended. The best type of portraits - en face. Not recommended to wear dress without collars or with stand-up collars. A big collar will hide this defect.
18. THICK LEGS
Skin-tight pants are not recommended. Better wear pants enlarged from hip line. Better not to uncover knees. Middle heeled shoes. For regular legs its better to wear dark tones of panty-hoses.
19. THIN LEGS
Better to make half face portraits, sitting on an chair edge. Such a pose will visually enlarge hips. For regular legs its better to wear warm tones of panty-hoses.
20. Inverted-U –like, X-like, O-like LEGS.
Skin-tight pants are not recommended. A shirt must cover knees. Better to photograph ¾.

To be continued…

Swartzy

Oct-15-2007, 06:21 AM

For this wonderful thread. I've been following this and will participate shortly. Great advice, demonstrations and lists. I really appreciate your time. Thank you Nik for organizing this. Hoping it stops raining here, then we'll go get some backgrounds.

Yuri Pautov

Oct-18-2007, 08:54 AM

Dear Dgriners and guests! I understand that starting a talk about composition, we risk to be lost in the labyrinth of its ‘polysemy’ so to say. Yes, we are clever and experienced. We subconsciously make very good photos. But. What about some theory? Let our technique swim out to conscious mastery.
This will not be a short lesson. Be patient, please.
Latin word “Composition” has several meanings: ‘making’, ‘compilation’, ‘connection’, ‘joining’. The main point of the composition is in well thought-out organization of the image in a photograph in order to give it a spatial integrity. Composition, per se, is a hidden symmetry between dozens of components, tricks and principles. We will talk about some of them later.
Our camera is only fixing the surrounding us world. Transferring it into emotional sphere, like into another dimension, is not an easy task. What do painters, sculptors and photographers use?
We will talk about the next things.
Lines of power / Structural plan of the plane. / Tunnel effect / Left and Right / Symbolism of lines / Rhythm / Some effects / Symmetry and asymmetry / Form properties…

1. Lines of power
Lines, colors, tones, textures are common for all kinds of art. They make the basis of composition. As long ago as in Ancient China wise man considered lines that form contour of things, landscapes and people as Lines of Power. Looking at, examining an object from far away the viewer catch its Lines of Power first. They express movement dynamics, create this or that mood….

http://pautov.viplast.ru/images/gallery/4730.jpg

These lines are the main in composition. And only looking nearby, the viewer apprehends the texture, color and tones. In portraits, Lines of Power – are the lines of contour of the whole body, or its parts. Or skin folds created by different poses. Wrinkles are also Lines of Power, but they have different, specific artistic value.
We must note that we can clearly see the shape if only we the photo has distinct differences IN LIGHT, but not by the color tone. The only chromatic (in color) difference, even contrast, is not enough to make Lines of Power.

http://pautov.viplast.ru/images/gallery/3149.jpg

http://pautov.viplast.ru/images/gallery/4914.jpg

Our eyesight has a property to continue the contour until it intersects another object. This effect is widely used in erotic photography, which can be called an art of a hint.

This effect is used in photography and advertising. With the help of a generalized contour we can get association with very different objects, based on approximate similarity of the parts of their contours or textures. We can show by such hints almost all we want: appearance, structure or figure, some process, movement… We obtain visualization of thinking.

Sorry for my English… To be continued.
P.S. Still waiting for your homeworks and questions...

Yuri Pautov

Oct-19-2007, 01:24 AM

After reading the material of MA, try to MAKE YOUR own PHOTOGRAPHS - examples of Lines of Power, as you understood them.

(Yes, 'portrait trend' is preferred, but, in principle, you are free...)

twinsmom

Oct-19-2007, 07:02 PM

I am new here at DGrin and can't tell you how excited I am about finding this thread. Your pictures are amazing. I am so intimidated about approaching strangers but this thread has me looking forward to it. I may not get to this soon but I look forward to reading and re-reading all of this. Thank you so much for all your time and effort here. There may not be many responses but I believe it is helping so many like me that need time to process all this. Thanks again.

Yuri Pautov

Oct-26-2007, 12:33 AM

The Structural Layout of the plain

The graphic plane of the shot has two vertical and two horizontal lines, the center in the crossing point of diagonals and the axis, dividing the sides in half. The set of lines converging in the center of the shot is called the Structural Layout of the plain.

http://pautov.viplast.ru/images/gallery/5559.jpg

The object, situated on the lines of the Structural Layout or near them seem to be calm and quiet. If it is moved away from these Lines, then the viewer feels the tensity, which produces the psychological energy of the photograph.

http://pautov.viplast.ru/images/gallery/4875.jpg

The object, situated in the center of the composition or near it or on the vertical axis of the shot seems more light then the one outside the Structural Lines. And vice versa for the size. In order to make the figure of the man look slim, it must be situated outside the Structural Lines.
At the same time, the object on the left will dominate over the same ones elsewhere.
The “lever principle” tells that the weight of the object in the shot grows in direct proportion to the distance from the center of the composition. The same rule is with the depth of the shot. The more far from the viewer the objects are, the more bigger weight they have.
The bottom always seems to be heavier then the top in visual perception. That’s why the shot looks better if its top is brighter. Also the object in the top part seems heavier then the one in the bottom.
People feel intense anxiety when they see the oncoming big black clouds… Also, do you often see black ceiling? The world psychologically turns upside down – the top becomes the bottom…
But in spite of that this effect can be used for the correction of the figure in case it has disproportions.

Tunnel effect

Is one of the ways the viewer perceives the bright tones gradually changing into dark one. The viewer’s look always pass from bright to dark

http://pautov.viplast.ru/images/gallery/5134.jpg

There is something… under a veil of secrecy in all these holes and places ending with deep darkness…

http://pautov.viplast.ru/images/gallery/5389.jpg

Such parts often become if not the main parts, but one of them in the composition. The tunnel effect in model’s portraits, created by the emptiness between dress and the body, excites the imagination and makes the photo more attractive. This effect is often used in dress to accent the viewer’s attention on the face, foot, breast of the model and also to increase the model’s sexual appeal.
To be continued…

Yuri Pautov

Nov-01-2007, 08:37 AM

LEFT AND RIGHT

There is an interesting regularity: all things in the right side of the photo are taken by the viewer as usual, traditional. And, as Unusual – in the left. And the things in the center - as a placatory, balanced. Just like political parties :-)

PLANS

Now I am in a difficult situation. Not sure my English is good enough for special terms. So forgive me for mistakes. If someone wants to correct me - please feel free to do this!

We are talking about what we call here ‘plans’. Hope you’ll understand me.
We have Long shots, Medium shots, Close-ups. The next one in this row can be called Detail or Fragment.
It depends upon how far from your object you are. And, what zoom you are using. In other words, its how far from your object you seem to be in the photo. (I didn’t use ‘you are’ instead of ‘seem to be’ cause of zoom)
Choosing a plan is the second way to solve the composition task. The first way is to ORGANIZE the things in your frame. Still life is a good example. Studio portrait. Working on it, you can find the character (typical) pose, the turn of the head, direction in which your model is looking. Make something with your background. Add some thing. In this case we are arranging the object of shooting.
Choosing such a point is a way of shooting without intrusion into natural object set.
These types – Long, Medium, Close are based on scales – large, small scale.

Some examples:

Long shot. This type is often used in landscapes, architecture shooting, also for events taking a lot of space – demonstrations, for example. The viewer gets acquainted with the object as a whole.
http://pautov.viplast.ru/images/gallery/5588.jpg

Medium shot. If the photographer wants to show a concrete hero with all his/her individual features, then this type is used. It shows the object from the more close distance, at more large scale. At this type the viewer can see not only the face of the model, but also a figure, pose, gesture.
http://pautov.viplast.ru/images/gallery/5583.jpg

Close up. Almost all of the space in the shot is used by the model. Mainly we see only a face of a model. Head. Shoulders.
http://pautov.viplast.ru/images/gallery/5584.jpg

Detail. Only a part of a whole. So the way they are presented in a frame must give a good idea to the viewer about this whole.
http://pautov.viplast.ru/images/gallery/5007.jpg

As you can guess there are no exact borders between these types.
In portraits we often use something between the Medium and Close-up shots.

HEIGHT OF THE POINT OF SHOOTING

If we take our shots from our eye’s level - this shots will be Normal. And this is a rule – to take shots from such points. But as a exclusion we also can use bottom and top points. Must say that one of the main changes – is horizon level change. It goes down in Bottom and up in Top points shots.

Bottom point of shooting
http://pautov.viplast.ru/images/gallery/4641.jpg

Top:
http://pautov.viplast.ru/images/gallery/1692.jpg

Not sure I must say here a lot of words – you see that bottom point gives much expressiveness to the shot. Top points are interesting too…
Of course I must say about foreshortening. Foreshortening shots are remarkable for their underlined perspective convergence. Sometimes they say that there are perspective distortions in the photo. Its not true. We can talk about unusual point of view here, but not distortion. Photographer can use foreshortenings in their work to hide defects and underlining merits..

http://pautov.viplast.ru/images/gallery/4684.jpg

http://pautov.viplast.ru/images/gallery/5511.jpg

DIRECTION. FRONTAL, SIDE AND DIAGONAL COMPOSITIONS.

Placing the camera regarding the object in a central position or displacement of the point of shooting away from the center. From the central point we have Frontal composition. In some cases we loose depth in such shots. Yes, it can be added with DOF, setting aperture to low numbers and using zoom.

http://pautov.viplast.ru/images/gallery/4974.jpg

But, moving the point of shooting to the right or left we get… 3-d dimension. Our compositions are becoming spatial, nor plane.

http://pautov.viplast.ru/images/gallery/4986.jpg

Further movement of the point of shooting brigs us to so called Diagonal composition.

http://pautov.viplast.ru/images/gallery/4802.jpg

All above mentioned is used for creating the ‘presence effect’.

To be continued…

schmoo

Nov-01-2007, 10:49 AM

:clap:clap:clap

HoorayYuri and thank you for continuing this thread! :thumb

Yuri Pautov

Nov-03-2007, 01:51 AM

Please, make and post here your photos with Long, Medium and Close-up plans, (not only portraits!)
Top and bottom, central, side and diagonal compositions.
Thank you in advance!

Yuri Pautov

Nov-30-2007, 05:03 AM

SYMBOLISM of LINES

The strait line expresses active, quick action. It is read by the viewer faster – the movement of the look is becoming slowly on the curves and the rounding parts of the line.
Let us not forget that human’s figure has no straight lines.

The horizontal lines make an impression of rest, peace. A little bit bent ones symbolize languor, tiredness and relaxation…
We achieve the same effect of calmness, home comfort, conservatism, sometimes - old-fashionedness, when we use the horizontal lines in the dress.

Vertical lines are the basis of the composition, producing an impression of stability.
Using them in dress, we visually make the model higher and decrease the figure’s fullness. There is an optical effect that vertical lines of a figure visually seem to be bigger, then the same ones that lie horizontally.

http://pautov.viplast.ru/images/gallery/5677.jpg

Diagonal lines help to cover the whole picture by sight. They attach dynamics to the image, symbolize movement, combine parts of the picture.
All these effects are often used in dress, gestures, poses while creating the composition of the photograph.
The dresses, where symmetry and diagonals are used, look very elegant and hide exterior defects. The rhythm is felt in such a dress.
The reasons of such a perception are connected with the everyday life observations. They are corresponding to western people’s perception, for whom it is usual to read composition from left to right and from top to bottom. The image becomes easily to read if its composition center is placed in the left top part of the photograph.

http://pautov.viplast.ru/images/gallery/5303.jpg

The diagonal, which goes from left to right and leads into the composition, causes a feeling of tension, activity and sometimes is called a diagonal of fight.
http://pautov.viplast.ru/images/gallery/3895.jpg

The diagonal, going from left top to bottom right corner is called “falling” and the one going from bottom left to top right corner is a “rising” diagonal.

Moving up along the falling diagonal causes tension. According to the same principle, the turn of the head to the right in a photograph for western people looks like a turn towards the viewer, and the turn to the left – as a turn away from the viewer.

http://pautov.viplast.ru/images/gallery/3144.jpg

Accents in dress are also placed in the left top corner or at bottom right.
http://pautov.viplast.ru/images/gallery/5292.jpg
(http://pautov.viplast.ru/images/gallery/5292.jpg)

But for some eastern nations where writing and reading processes are using other directions, these rules don’t work.

To be continued…

jsedlak

Dec-06-2007, 08:06 PM

wow... such an amazing thread! :clap

I am going to re-read it all and try some new techniques out this weekend. Thank you!

darkdragon

Dec-12-2007, 09:07 AM

I know I'm a little behind on this, but I'm just getting started on the monthly assignments. Went out this morning before work to get some photos of some locations at the park. We didnt work on poses or anything like that, just wanted to snap off the location and "position" photos this time. I only had about 15 minutes to do it all.

#1.
http://darkdragon.smugmug.com/photos/231614671-M.jpg
With the model sitting on a table, I was able to get a decent bokeh of the background. In a real shoot, I'd have a reflector with me to give some light to the model's face.

#2
http://darkdragon.smugmug.com/photos/231614618-M.jpg
I think that this red door makes a great background and if I brought the model forward a foot or two it would look a lot better.
What do you think Yuri, blur the door a little or keep it in focus?

#3
http://darkdragon.smugmug.com/photos/231614548-M.jpg
I think that this repeating wall pattern would make a great background if I brought the model forward a few feet so that I could blur the wall. That would take care of the "lines through the head" issue as well.

I'm planning to go back to the same place tomorrow morning to work on the next homework in this assignment. Will be using the same model since she's the only person I have access to that early who will cooperate with me ;-)

Yuri Pautov

Dec-13-2007, 11:35 PM

***
darkdragon! Thank you for finding time for your homework.
As we have moved forward from places and backgrounds to compositions, my critique (if you dont mind) will cover more then locations. only.

#1.
http://darkdragon.smugmug.com/photos/231614671-M.jpg

try to STUDY
MA 2.9 Part II. Shooting 5) Tips. Face
Tips about exterior. Face.

http://www.dgrin.com/showthread.php?t=71133&page=5

you'll find there some intereting tips. Specifically about hairdo. Also I think that 'en face' is not the best variant. I'd use here other poses. But yes, its another story...
Your homework was about location.
So.
I think that you see it yourself. Its a good idea to use such a background for this photo. But look... What do we see? yes - Three color spots - red, blue and so to say green. They are too bright cause of color. If you'll make this photo b&w, this dissonance will dissapear, but we will lose much in model's face... So... I think that choosing the background, you MUST HAVE SEEN this spots and choose another point of shooting or make a shot, putting your model closer to this 'blue subject' for example.

#2
http://darkdragon.smugmug.com/photos/231614618-M.jpg

Again, try to STUDY our MA.
These horizontal lines play bad role here - (making face and figure wider)

#3
http://darkdragon.smugmug.com/photos/231614548-M.jpg

Same as #2

My advice - start using simple backgrounds (only color and texture). All these lines... going out of the head...
You understand me.

I am sure you have a very beautiful model and you will make fantastic photographs with her.
Study, shoot and post!

darkdragon

Dec-14-2007, 08:07 AM

My advice - start using simple backgrounds (only color and texture). All these lines... going out of the head...
You understand me.

I am sure you have a very beautiful model and you will make fantastic photographs with her.
Study, shoot and post!

Yuri,

Thank you for looking and reviewing. I'll work on some new photos tomorrow morning. I have read all of the information you've posted in this thread and the article on hairdos is very interesting. I'm 100% new to photographing people for anything other than newpapers (usually those are quick and not very flattering, hahaha).
This assignment is definately hard work, but I am determined to pass the class.

Thank you for all the great tips and information here.

~ Lisa

Yuri Pautov

Dec-17-2007, 01:59 AM

MA 2.15 Part II. Composition 4. part2
SYMBOLISM of LINES. Part 2.

The bend at the end of the line will command the viewer’s look to stop.

Thus we can control the movement of viewer’s eyes on the photograph, turning up, for example model’s hand or foot.

http://pautov.viplast.ru/images/gallery/5703.jpg

The wavy, undulating line shows instability, fluidity as it leads the look from one flexure to another.

http://pautov.viplast.ru/images/gallery/4971.jpg
(http://pautov.viplast.ru/images/gallery/4971.jpg)
The are many distinct and easy to recognize curves in human body and they practically always attract attention of the spectator. Wavy lines make the rhythm of the photograph and if they are parallel, this effect becomes stronger.
Spiral or tortiled lines express tension and vital power. That is why the more ‘twisted’ body of the model is, the more attractive the photo becomes.
http://pautov.viplast.ru/images/gallery/555.jpg

Again we can control the movement of viewer’s eyes, using different directions of spiral’s line.
(Up from left to right or down from right to left)

http://pautov.viplast.ru/images/gallery/5378.jpg

The points that attract maximum attention of the viewer, besides the curves, are the intersection of lines, which put together the parts of the image that lay around them. This can be observed in dress, drapery.
The human eye, apprehending the subject, first look around its contours, lingering on and returning to more curved or having intersections details.

[/URL]

[URL="http://pautov.viplast.ru/images/gallery/5556.jpg"] (http://pautov.viplast.ru/images/gallery/5556.jpg)
http://pautov.viplast.ru/images/gallery/5556.jpg
(http://pautov.viplast.ru/images/gallery/5556.jpg)

The recognition can fail if we will show only a part of a subject. Human’s body, being a most significant image, is an exception here.

When the objects intersect each other, their contours intersect. At the cross points there may appear several lines. But we can talk about only eight sorts of crossings: fork, V-crossing,, T-crossing, arrow, X, K-crossing , peak and multi-crossing. With the help of these components the viewer unconsciously turns flat images into three-dimensional.

Putting instead of natural component another one, we create an unusual images.

Penrose triangle shows this effect.

http://www.at-bristol.org.uk/Optical/ImpossibleTriangle_main.htm

Some optical effects links.

Sizes of figures

http://www.at-bristol.org.uk/Optical/SizeConstancy_main.htm

Fantastic figure

http://www.at-bristol.org.uk/Optical/ImpossibleTrident_main.htm

Faces, having more acute angles, curves, crossings are more photogenic. Pug nose or a bit gibbous nose will attract much more attention then the straight one. The same is with a chin. Acute chin with salient cheek-bones is more photogenic then a round one.

http://pautov.viplast.ru/images/gallery/5601.jpg

45 degrees incline is the most acceptable. Model’s figure, hands and feet, which are placed under such a degree, look more svelte and photogenic.
http://pautov.viplast.ru/images/gallery/5702.jpg
(http://pautov.viplast.ru/images/gallery/5702.jpg)

Gesture, which goes along a diagonal (and not along the vertical or horizontal lines) looks more expressive.

(http://pautov.viplast.ru/images/gallery/4404.jpg)
http://pautov.viplast.ru/images/gallery/4404.jpg
(http://pautov.viplast.ru/images/gallery/4404.jpg)

The object, moving to the frame edge at 45 degrees looks more dynamic. This is because the human spend less efforts looking at horizontal lines then vertical ones. That is why if the model or any other object at the photograph has horizontal and vertical lines, the viewer’s eye first slides across the horizontal and only after them starts vertical ones.

To be continued….

Carloskbco

Dec-18-2007, 07:40 AM

Dec-19-2007, 06:19 PM

OK, here are my first entries to this assignment. natural light No flash , minimal PP: interior ( window light)

Dec-19-2007, 06:20 PM

a stranger asked me for some spare change, I said "sure If i can take your photo :) signed model release. great charactor face

Dec-19-2007, 06:22 PM

I had to play with some editing on the man , so I did a draganizer effect.

Dec-19-2007, 06:23 PM

exterior clean background ( well except for the tree, I had the flash one for some of these, then turned it off and had a firnd hold the gold refletor,

Yuri Pautov

Dec-20-2007, 06:41 AM

I have read all the tips on this "tutorial" (assignment) and wow, there is so much to learn...one thing that drew my attention was: subject on the edge of shadow/sunlight...and went to the backyard of my house, and took my homemade reflectors and this is what I came up with... Rainy season in California nowdays...
http://cabeco.smugmug.com/photos/233502418-L.jpg

http://cabeco.smugmug.com/photos/233036905-L.jpg

Minutes after I took these shots it started to rain...the neighbors fence,about 11 feet tall (3.5 m) created shade...

Carlos
First of all thank you for taking part at our MA.
I like backgrounds, compositions of these portraits, natural expressions of the model.
The only critique - try not to use white dresses (You must have a very good camera :-) as they eat a lot of brightness range.
Again, well done, my friend!
Yuri

Yuri Pautov

Dec-20-2007, 10:31 PM

OK, here are my first entries to this assignment. natural light No flash , minimal PP: interior ( window light)

Priviet (in Russian - Hello), CookieS!
Thank you very much!
I like this one a lot. You managed to catch her expression so nicely!
Sure you yourself see this big difference of brightness due to these sun spots. On the other hand, they add a lot here ... Warmness, Homeness so to say.
I also like the background. It tells a story.
My only advice will be: choosing your point of shooting, looking into the viewfinder, before pressing the button of your camera, please inspect once again the area around the head of your model. Sometimes 2-5 cm movement of the point of shooting (up/down left/righ) helps to avoid these things 'going out' of the head.
Again, very well done!
Spasibo,
Yuri

Yuri Pautov

Dec-20-2007, 10:58 PM

a stranger asked me for some spare change, I said "sure If i can take your photo :) signed model release. great charactor face

What a model! What a charachter!
My congratulations!
I like his pose more on the second photo.
My advice will be: Try to take several photos in different poses (placing your model in the left/right part of the composition with the head turned to the camera/ to the left / to the right. Eyes looking to the camera/ strait behind)
You'll count to 6-10 shots, but you'll have variety.
Spasibo,
Yuri

ifocus

Jan-05-2008, 05:51 AM

Hi Yauri,

May I get some feedback about this shot? Many thanks.

http://Ifocus.smugmug.com/photos/239398138-L.jpg

Yuri Pautov

Jan-08-2008, 10:51 PM

Hi Yauri,

May I get some feedback about this shot? Many thanks.

http://Ifocus.smugmug.com/photos/239398138-L.jpg
Hello, JY!
Of course, this photo is important to you (that's the reason of posting it here).
...Yes...
But the thing is... to make it interesting to other people (the viewers).
Yes, we see some charachter here... But no enough...
Big part of the frame is filled with knitted cap.
If you have read our MA#2, you must understand why knitting details (and the left part of the shot as a whole) attract much more attention then the eye of the model.
Surely it wasn't your aim, yes?
From the 'light' point of view, the left side again attracts much more attention...
Undeservedly...
I think that it will be better from your side not to post here your shots to get some feedback, but to make homeworks. (Backgrounds, composition - we have a lot of them to work on)
At the same time I must say thank you for taking part.
I saw your works and must say you are a talented photographer. That is why this shot was a surprize to me :-)
Spasibo,
Yuri

jeffreaux2

Jan-11-2008, 08:21 AM

Yuri,

This is a photo of my daughter. The setting is an old train station and museum in town. The background here is an old coal car used to fuel the train. I have been using fill flash in many of my outdoor portraits lately, but in this one, I relied solely on the natural light available. There is a concrete parking lot that is reflecting light into the covered walkway and onto her face. I am pleased with the exposure, but not entirely with the pose. I wanted her left arm extended as I was trying a new lense, and wanted to see the shift in focus at that distance, but.....I don't think I like seeing that much of her left arm and none of her right arm. I am anxious to hear your reply. Posing is a challenge to me at times.

http://jkmann.smugmug.com/photos/242140770-XL.jpg

Here is another without flash on the same day, but in an entirely different location. The majority of the light in this scene is bouncing from a large light colored building across the street

http://jkmann.smugmug.com/photos/238094727-L.jpg

Yuri Pautov

Jan-15-2008, 12:15 AM

First of all, thank you, Jeff, for taking part in our MA!
Now to the photos. I think they are very good.
I like the diagonal composition of the first one. Besides, not only the hand leads to the center of the composition - the model's face, but also the light. The background is very good.
Maybe another position of the head, when the row of rivets doent pass through the head of the model, could be better, but DOF here played its role....

The second photo is very good too. I like its red.
At the same time we talked here at MA about using SIMPLE backgrounds first...
The thing is - to FIND such backgrounds around you.
As you can see, we have here vertical lines (left part of the photo) going our of the head.
Jeff!
Try to find more simple background and then, bit by bit, make it more complex (asking yourself 'why and what for?')...
And (Only my opinion)...
This must be a tradition. I mean... smile.
Yes, such a photo says that Everything is OK with the hero of the photo... But...
Please, close the bottom part of the face by your hand and look at the face like 'at the first time'.
Does these eyes smile?
We have something about 180 face muscles. And when we smile naturaly, the muscles around the eyes also tells about our smile...
And for me portrait WITHOUT SMILE tells MUCH MORE about the model. Charachter.
I mean you may ask you model not to use this 'SAY CHEESE' smile...
Such a portrait gives (me) a way much more 'food for thoughts'. More interesting.
What do you think?
This question is VERY IMPORTANT to me.
Thank you, Jeff.
Yuri

Antonio Correia

Jan-15-2008, 01:19 AM

http://antoniocorreia.smugmug.com/photos/243678804-L.jpg

Hello Yuri, how do you do ? :D
I shot this portrait a couple of days ago with the help of natural light from our left and a soft light from the right, coming from a home made softbox.
The home made softbox is not a sucess, no.
But the photo is rather good.
However, I think the photo is rather studio type. Not my kind of pictures.
I like more informal...
:D:thumb

Yuri Pautov

Jan-16-2008, 08:33 AM

Yuri Pautov

Jan-24-2008, 09:36 PM

I will continue MA after a couple of weeks - going to show my skin to Egyptian sun and take some shots of Red Sea fishes....
Yuri

Antonio Correia

Feb-10-2008, 01:03 PM

I shot this picture today using two flashes for the first time.
Any good ? :wink
http://antoniocorreia.smugmug.com/photos/252860960_e4dmT-M.jpg

Yuri Pautov

Feb-26-2008, 02:43 AM

Rhythm in photography

The simplest rhythm in photography is the equality of forms. Recurrence. Brain hits upon an idea of the whole picture, judging by some components, curvature lines, intersection lines. And millions of pictures that human has seeing – his experience – are used here. Putting together parts of the picture, human brain all the time forms hypotheses upon how it must look.
Rhythm itself is an element of the composition and also one of the instruments. Using it, the clarity of the form is achieved. And sometimes - even the originality of the theme’s incarnation.
Rhythm comes to the photography from life. You can see rhythm everywhere: petals of the flower, see waves, sand patterns in the desert…

http://pautov.viplast.ru/images/gallery/6099.jpg
(http://pautov.viplast.ru/images/gallery/6099.jpg)

Of course, the rhythm, which you see in a real life is not mechanically brought into your photo. You put it into the composition’s fundament. It becomes the rhythm of lines, tone’s interchange.

http://pautov.viplast.ru/images/gallery/6095.jpg

The rhythm can be set not only by frequent lines, but also by single ones.

If we’ll look at the squares,

http://pautov.viplast.ru/images/gallery/6100.jpg

we’ll see that they seem to be larger in the direction, in which we unconsciously put the elements together.

Talking about rhythm we must also say about identity, nuance and contrast.
Identity is a complete similarity of similar (sorry!) elements. They form harmonious relation and look very effective. Sea waves, for example. Or even a fence.
Nuance is a relation of monotonous elements. Their forms come close to each other. The similarity is shown much more strongly then a difference. And the relation in the composition is based on this similarity. A forest. A group of people. Car park.
Contrast – is a correlation of similar elements of the composition with strong disparity. The relations between the elements is based on difference and contraposition. Parents and kids for example.

The keyhole effect.
Also the holes, formed by different parts of the body, especially in nude figures, at once arrest attention cause of contrast not only of the light tone, but also by linear size. They become the centers of the composition, amplifying the psychological effect of the lines of power, which make them.
http://pautov.viplast.ru/images/gallery/4401.jpg

Chink effect
When the chink made by practically parallel surfaces of hands, feet and body, being a special case if rhythm become the center of the composition.

Symmetry and asymmetry.

The rhythm can be called a special case of the symmetry. Photographers and models often use a natural symmetry in their creative work. The human is a symmetric by nature. It is proved by a lot of poses, used in photography. But. We must remember that the frequent usage makes the showing character of the model… invisible.
http://pautov.viplast.ru/images/gallery/3826.jpg

We can use the shadow of the model as a variant of the symmetry. Asymmetry is also often used in photography. It helps to break the rules, to disconcert the viewer, or show the internal world of the model.

To be continued….

KeepItReel

Feb-26-2008, 06:14 AM

Wow! I only joined dgrin yesterday and i can't stop reading all over this site! but this thread is AMAZING! Yuri, I LOVE your work. I am a new pro photographer (only pro a year) and am looking to learn and perfect my craft. natural lighting is my preferred lighting, however i dabble with some flashes i own. i photograph people on location and would love to join this thread. do i just jump right in and post a recent shot? :huh

Nikolai

Feb-26-2008, 07:42 AM

Sandy

Mar-05-2008, 11:06 AM

Thank you so much for this thread Yuri. I have an assignment tomorrow to do some more natural portraits of the model below for her acting portfolio using available light. This class will help me tremendously with choosing a location and in focusing on the elements needed to make a great portrait. Sandy

portrait. http://sandra.smugmug.com/photos/252307142_boCSR-M.jpg

http://sandra.smugmug.com/photos/252307963_PkFPQ-M.jpg

http://sandra.smugmug.com/photos/252308639_e4MAu-M.jpg

Nikolai

Mar-05-2008, 11:48 AM

Thank you so much for this thread Yuri. I have an assignment tomorrow to do some more natural portraits of the model below for her acting portfolio using available light. This class will help me tremendously with choosing a location and in focusing on the elements needed to make a great portrait. Sandy

Sandy, I think I go on a limb here, but these three portraits look like they were taken with the aid of strobes. Am I wrong? And if I am - can you describe your light setup, at least briefly? TIA!

Sandy

Mar-05-2008, 02:42 PM

These photos were taken during a print shoot at the old Cecil B. DeMille studio at Hollywood and Wilton. The sunlight from the studio windows produced some awesome natural lighting. I took these with my 20d, kit 18-55 lense and the 50 1.8 w/flash There were strobes and studio lighting on the set, but these shots were not taken on actual set . I was working as the producer and was able to get some shots of the performers when they were relaxing between setups. I am attaching a few links to the work that was produced by Wayne Schoenfeld the photographer, and links to my background shots of the Circus'. He was honored for his work by Cirque du Soile for his charitable work w/Rotoplast. They travel to many places around the world and take clowns with them to entertain the children. He just returned from Nepal. All money from these shoots is donated to Rotoplast for their missions.

http://www.wschoenfeld.com/soleil/index.htm

http://www.takegreatpictures.com/Wayne_Schoenfeld-s_Circus_of_Life.fci

http://wschoenfeld.com/ethiopia/

http://sandra.smugmug.com/gallery/3413056_99mJY#191081358
http://sandra.smugmug.com/gallery/1418113_BxaFm#27900427

Nikolai

Mar-05-2008, 06:44 PM

jeffreaux2

Mar-06-2008, 05:33 AM

Natural light...
I am dropping this photo here because it garnered quite a bit of positive attention in the "People" forum where I originally posted it.

We were located in shade...not direct sunlight. The sun was to my left behind a building in overcast skies. The sky overhead was mostly clear blue sky. No reflectors or fill were used. We were also nearby some warm colored concrete buildings.

EDIT: I just realized this is my 1000th post!!! Thanks DGrin and Smugmug!!!

Date Modified 2008-02-26 06:22:09
Date Taken 2008-02-25 17:13:50
Camera Canon EOS DIGITAL REBEL XTi
Exposure Time 0.005s (1/200)
Aperture f/5.0
ISO 100
Focal Length 37mm (guess: 40mm in 35mm)
Photo Dimensions 3888 x 2592
File Size 6.32 MB

http://jkmann.smugmug.com/photos/259084822_WYpAc-L-4.jpg

Sandy

Mar-06-2008, 06:08 PM

Jeff what a beautiful photo, great composition.

jeffreaux2

Mar-07-2008, 07:00 AM

Jeff what a beautiful photo, great composition.

Thank You.

I am pleased with it even if it was more or less an out take from a recent session.

Antonio Correia

Mar-07-2008, 07:06 AM

http://antoniocorreia.smugmug.com/photos/262688573_FVWhS-M.jpg

Three lights: natural one from the back of the camera, one flash at the right and another on the left.:D

The light is too harsh. Next time I must use an umbrella and a soft box. Soon.

Sandy

Mar-07-2008, 09:58 PM

http://sandra.smugmug.com/photos/263215470_tV7hU-L-1.jpgThese are the portraits taken yesterday. It was challenging dealing with the natural light.

http://sandra.smugmug.com/photos/263215367_DHtah-L.jpg

http://sandra.smugmug.com/photos/263215403_SjgKr-M-1.jpg

http://sandra.smugmug.com/photos/263217609_uHf4F-L-1.jpg

eL eSs Vee

Apr-09-2008, 07:08 PM

Nikolai

Apr-09-2008, 07:44 PM

While watching this young lady's troupe perform on stage, I started thinking about the color of her hair and the hay you see behind her. When the show was over and the audience had vacated the bales, I asked if I could take this photo. She agreed, stepped off the stage and sat on a bale in the front row. I jumped up on stage and shot from above so that her eyes would stand out as much as her smile.

I chose the hay for its color, shadowing and texture, and stepped to my left to get diagonal lines in the bales. I used just enough depth of field to keep her hair in back from blending in with the hay.

Lighting is all natural; overcast skies and shade from a tree above and to her left. I increased the contrast, converted to jpeg and warmed the image in Photoshop.

All comments and critiques will be greatly appreciated.

I like the skin and the light. :thumb
She seems a bit tense, though, probably tired after the show and not "trusting" you yet.
Choosing the hay as a bg is a dual-prone fork for me here: for one, it tells me that her beautiful hair are of the natural hay color; OTOH, they blend together and thus create a huge hayish spot on the image. I'm not sure what could have been done here without some heavy lighting artillery, like having a hair light to separate the hair from the bg.
She's very fairly skinned, so I don't think bringing more contrast would do her skin any good (prolly would nuke it red, which we don't want). However, the whole image look rather flat. Again, I understand the tough lighting conditions and I'm sure you did the best you could considering the circumstances.
HTH

Yuri Pautov

Apr-11-2008, 12:59 AM

MA 2.17 Part II. Composition 4. part 4
Properties of forms

Now its time to discuss the properties of different forms. After all the composition is just a harmonious combination of simple figures, which create an image.
pic 1
http://pautov.viplast.ru/images/gallery/6582.jpg

The circle and oval symbolize the perfection and the completeness.
The equality of the elements in all three dimensions tells us about the static character of the form – sphere, cube, square. Such a figure is visually static, shows a quiescent state. So does a contour of the model’s figure, which can be ‘inserted’ in such a figure.
And we have the next effect here: such figures associate with the smaller size then they really are! And if the side’s ratio is different, then the more difference of the sides - the more visually bigger figure is seeing. For example, the circle is taken smaller then the oval of the same area. That is why it is recommended to the full-bodied to ware the clothes with drawing in the form of figures, equal in all three dimensions, whereas to the thin people - vice versa.

The figure of the model is static if visually it is inscribed into the figure with equal sides, or if this figure has a run bigger than an altitude.

Again I must apologize for my so-so English. I only can imagine how naïve my language is. Sorry. And also I must say that first I wanted to post here my photos with figures of the models inscribed into red-colored triangles, circles, ovals and so on… But then I decided that we are grown-up enough to draw them in our minds :-) But if you’ll have some difficulties, please feel free to tell me.

Here are some static poses
pic 2
http://pautov.viplast.ru/images/gallery/4842.jpg

The figure of the model can be inscribed into a triangle with two equal sides.

Two other examples of static poses:
pic 3
http://pautov.viplast.ru/images/gallery/4640.jpg

and
pic 4
http://pautov.viplast.ru/images/gallery/4913.jpg

But if only we start to disturb this balance, the dynamics (action, movement) appears.
It seems that the object starts moving itself. Or the viewer’s eyes start moving along the long side of the triangle, parallelepiped or a cylinder.

Compare these two:
pic 5
http://pautov.viplast.ru/images/gallery/6583.jpg

pic 6
http://pautov.viplast.ru/images/gallery/6584.jpg

The subjects and figures make an illusion of the movement along their most long side. This must be taken into consideration while choosing a pose for the model.

pic 7
http://pautov.viplast.ru/images/gallery/5133.jpg

pic 8
http://pautov.viplast.ru/images/gallery/5848.jpg

If the figure into which the figure of the model is inscribed is visually unstable (upturned triangle, oval, any other figure which will fall down in a real life :-), than this feeling is transmitted to the viewer.

pic 9
http://pautov.viplast.ru/images/gallery/4252.jpg

On the other hand it brings some vitality, as we assume that model must apply some force to stay in such a pose.

The most dynamism is given to the form by its narrowing in the direction of the size decrease. And also any form which reminds of an arrow.

pic 10
http://pautov.viplast.ru/images/gallery/4158.jpg

This can be model’s waist, dress elements, body’s bend. Generally, any narrowing, which looks like an arrow, adds dynamic in the narrowing direction.

pic 11
http://pautov.viplast.ru/images/gallery/5282.jpg

Dynamic is also can be added by the texture, which rhythm is gradually decreased. Movement effect is created by the reduction of the distance between the parallel lines. This is also can be said about the color which changes from deep to bright, or from warm to cold.

Antonio Correia

Apr-17-2008, 01:07 AM

This this counts ?
Is this any good, regarding your posts ?
I must correct this magenta cast in the last one haven't I ?:D
What else ? :dunno
:bow:D
http://antoniocorreia.smugmug.com/photos/282201643_Ef6Dx-L.jpg - http://antoniocorreia.smugmug.com/photos/280458735_ao4PM-L-1.jpg - http://antoniocorreia.smugmug.com/photos/280463345_YniYE-L-3.jpg
[/CENTER]

Yuri Pautov

Sep-07-2008, 11:14 PM

MA 2.18 Part II. Composition 4. part 5 Balance of the composition.
The composition may be balanced and unbalanced. The most simple way to make the composition balanced is to place the object in it’s center.

http://pautov.viplast.ru/images/gallery/3904.jpg

But this is not the good choice. If we move the object to right or left we disturb the balance.

http://pautov.viplast.ru/images/gallery/3935.jpg

One part of the photo becomes ‘heavier’ and visually outweigh the other. It seems that the shot wants to turn clockwise
In order to straighten out the unbalanced composition we must put some object into the empty part of the photo.

http://pautov.viplast.ru/images/gallery/3823.jpg

If you will be asked what is heavier - 100 kg of lead or 100 kg of hay, in this case of balance composition the answer will be ‘hay’, because its size is bigger.
In photograph the weight is replaces by size, color or associations with heavy objects.

http://pautov.viplast.ru/images/gallery/7271.jpg

The figure of the model in composition can be balanced due to various movements. If the model makes a hand movement to one side, then the composition can be balanced by the movement of the leg or head turning to the opposite side. In other words gesture to one side of any part of the body can be balanced by the gesture to the opposite of the hand, leg, head or any body turn.

http://pautov.viplast.ru/images/gallery/7500.jpg

With respect to models any movement is an act of thought. This psychological effect assume the presence of some free space in the direction of the movement or in the direction of the model’s look. That’s what we call Developing movement principle. We take human photo not as a static object, but as a clot of dynamic energy. Power, which assume movement. In order to have place for this coming out energy, or this moving object we need this place.

http://pautov.viplast.ru/images/gallery/5640.jpg

In case of photographing models Developing movement principle may be formulated as an indication of the developing action. Images of movements of hands, feet, heads, bodies are taken as if model applies force, though the pose may be static.
The same about gesture. Any movement of a model which shows pronounced emotion concentrates viewer’s attention. This makes gesture the center of the composition and all the rest is just addition. Even lines of power become minor parts in this case.
We can also use this method to visually hide exterior defects.
Besides, the Developing movement can be replaces by the look’s direction.

http://pautov.viplast.ru/images/gallery/6591.jpg

But looks can different and they need different free space in the photograph. Calm, friendly, half asleep look needs less free space. A furious, fatal, seducing – more. A look with self direction needs no space at all.

Trevlan

Sep-23-2008, 05:59 PM

Here are my background homeworks.

(Face position is where the red stars are.)

#1 I can shoot a dark haired woman or man on this background.
http://trevlan.smugmug.com/photos/379113669_SrFsg-L.jpg

#2 Light or darkhaired woman

http://trevlan.smugmug.com/photos/379113752_Cjm2b-L.jpg

#3 Child

http://trevlan.smugmug.com/photos/379113932_BsHPT-L.jpg

#4 Dark haired woman or man

http://trevlan.smugmug.com/photos/379114035_geAFN-L.jpg

#5 Dark haired woman or man on the outer parts, light colered hair or old person with white hair in the middle.

http://trevlan.smugmug.com/photos/379113977_8rEe9-L.jpg

#6 Dark hair, long legged woman from low angle.

http://trevlan.smugmug.com/photos/379114363_tU8Df-L.jpg

#7 Dark haired woman seated

http://trevlan.smugmug.com/photos/379114493_jkoCM-L.jpg

#8 High angle woman or man standing

http://trevlan.smugmug.com/photos/379114690_JhEci-L.jpg

#9 Dark haired woman or man, middle mark depicts a crouched possition.

http://trevlan.smugmug.com/photos/379114907_DsM4N-L.jpg

#10 Light haired woman, with reflector bouncing light back in her face. I imagined a nice rim light from the back.

http://trevlan.smugmug.com/photos/379114970_y5RHc-L.jpg

Yuri Pautov

Oct-21-2009, 06:31 AM

Proportions

It is useful to know some universal proportions of the body. Painters assume that our body is divided into 7.5 and 8 parts correspondingly for men and women (taking into account 4 cm of women’s heel). And one part here is the height of the head. So, if we will look from top we will have 2 ‘heads’ to the nipple’s line, 3 ‘heads’ up to navel, up to groin – 4 ‘heads’, and to the knees – 5.5 ‘heads’. According to this principle the classical proportions of the head are four parts with the unit of the nose length. One part from the top of the head to the line of hair growth, up to the bridge of the nose – two ‘noses’, 3 – to the nose base, four – to the chin.

According to the ‘ancient square’ formula, the height of a human is equal to the width of hands moved apart or four times the length of his hip. A human with his hands raised and a bit putted apart and his legs moved apart can be fitted in a circle with the circle’s centre in his navel. According the Pythagor’s golden rule of the ideal proportion of the body, the distance from the top of the head to the navel refer to the height of the human as 1 to 3. The height of a human changes during the day and becomes shorter in the evening for 2-3 cm.

http://yuri.pautov.ru/images/gallery/8640.jpg

The model’s hand in ideal is divided into three equal parts: from finger’s end to wrist, from wrist to elbow, from elbow to shoulder.

Some parts of figure also have some proportions in width, but they don’t play much role for our portraits aim.

lisasolonynko

Oct-21-2009, 10:21 AM

I noticed that there was 1 year between the last two posts. Yuri, are you finishing this class? I am really loving all of the amazing information. I was really worried that the class had been dropped without including the last chapter. Will you be going over post-processing, etc.?

Keep the info coming. It is fantastic.

Lisa

FarnsworthPhotography

Nov-01-2009, 05:41 PM

Here is a natural light senior pictures that I took last month.

<img src="http://www.admitphotography.com/SeniorPictures/Ethan-2010/Ethan-Suttle022/651338816_nzfxR-M-1.jpg">

Yuri Pautov

Jun-15-2011, 02:53 AM

While group shooting we can create our compositions, using bodies, looks, movements. All these triangles, squares, trapeziums made by hands, legs, bodies and looks are very attractive.

http://pautov.viplast.ru/images/gallery/5556.jpg

It is known, that the viewer can fully apprehend on the shot a group of only 6-7 persons. That is why we must create composition proceeding from this requirement.

If the photograph contains more people, then it looses its artistic value. It becomes a document, having its historic value that you were in this place at that time with those people, nothing more…

http://pautov.viplast.ru/images/gallery/10990.jpg

Fact is that human being recognize unknown object at a time of not less then 1/4 of second. There is no recognition in shorter time. Viewers, looking simultaneously at several objects or models, apprehend them not simultaneously, but one after another. We can keep in our mind only 6-7 objects at the same time.

In photography the too mixed, florid background dramatically reduces perception of the model in a picture. Meanwhile, relations and interconnections between the objects and models are much more important for the viewer then themselves. That is why the viewer sometimes see not what it is actually, but what’s gonna be as viewer thinks.

As for the psychological aspects, in any talk predominates the person most people are looking at. The same thing is with photographs.

It is known that there is a correlation between the distance during meeting or talk and the height. The higher the man is – then closer he prefers to be his interlocutor. And vice versa with women.
So during photo session (or talk) it is not good to come closer to high women, or undersized man. And vice versa.

Reflecting poses are very interesting.
We must know that distances between the models in life and at the picture look differently that is why we must make them shorter during taking photos, exaggerating poses.

Belonging of the object or a model to something whole is good when it is natural, has signs and indications of relationships with surrounding objects. As mentioned above the human can perceive at the same time not more then 6-7 elements. If more, he (she) subconsciously unite them into groups, using different ways – bordering, colour or semitone contour, relief, texture.
For photographic purposes in most cases its bad.

One of my beloved photos. “Three sisters”. I placed them together but asked to look in different directions.

http://pautov.viplast.ru/images/gallery/5537.jpg

They we together most of the time. But now… One stay here, another is in Spain. Dasha is in China…

Spasibo, and sorry for my English

Yuri