portraits photo1

8/16/2019 Portraits Photo1

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T H E

P O R T R

A I T


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Why portraits?

Likeness

Physical featuresPower Status

Wealth

Symbolism

What do portraits tell us?


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Painting traditions


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studio traditions

From it’s beginning in the

mid 1800s into the 20thcentury photography wasdominated by studio work.

Cameras were large,exposures long, and film

existed in plates or sheets –all of this limited the ability ofthe photographer in terms ofsubject matter and location.


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As cameras became smallerand photography moreaccessible in terms of

equ i pmen t and i n i t i a linvestment, more peopleexperimented with themedium. Portraiture left thestudio and the hands of theprofessional and entered thelives of everyday people. Theidea of the snapshot wasdeveloped by Kodak in 1900.


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1888 – Eastman introduces the Kodak camera1900 – Eastman Kodak releases the Brownie for $1,introducing the idea of the snapshot

1925 – Leica produces the first

mass-market 35mm camera


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1930 – Flashbulbs are first commercially available1935 – Kodak introduces Kodachrome

1947 – EdwinLand releases the

Polaroid Camera

1936 – First 35mmSingle Lens Reflexcamera


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1985 – Minolta releases the first

consumer autofocus camera

1963 – Kodak introduces theInstamatic with easy loading film, the

most popular amateur camera

1972 – The Polaroid SX-70is released and sold for$180 and $6.90 for a10

pack of 10 photos, selling700,000 in two years.


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1990 – First commerciallyavailable digital camera,

the Dycam Model 1

1997 – On June 11thPhilippe Kahn sharedthe first picture via acell phone of hisdaughter’s birth


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How have portraits evolved?

How do we use portraits?


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Shoot a roll of 24 portraits of your interview sub ject

exploring who she is and what she means to you. You

will explore dif ferent kinds of light, times of day,

vantage points, and ways of representing a person.

a t lea st 3 dif f er ent times of da y thr oug h dif f er ent kinds of lig ht

a t leas t 3 di f feren t perspec ti ves or k

inds o f por trai ts

( ! vie w, full leng t h, h

eads ho t, a bs trac t closeup, e tc. )

You will need to sho w e vidence o

f:

a t l e a st 3 w a y s in w h ic h y ou obsc u r e , r e mov e , h id e , c r op ou t , or

ot h e r w ise c r e a t e a p or t r a it w it h ou t sh ow in g t h e ir f a c e .


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PO R T RA I T

p e r s p e c t i v e W I T H O U T A F AC E p o r t r a i t s b e y o n d t h e f a c e

L I G H T


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Why take a portrait?

to document

to analyze

to understand

to appreciate

- beautiful faces in beautiful spaces

- portraits that tell stories


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How to take a portrait?

focus

light

settings

direction


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What to take a portrait of?

model

location

background

cropping


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L I G H

T


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Explore different times of day

Explore different kinds of light


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20/165Pegah Maleki


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• Light and Dark • Later in the day • Horizontal &

vertical elements


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• Midday harsh light •Expose forshadows

•Background givescontext

Sh ll d h f fi ld bl


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• Shallow depth of field to blurdistracting background


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C i


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Contrastingdiagonalmovement

C i


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Contrastingdiagonalmovement

•Shallow depth of field


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•Shallow depth of field •Focus on eyes•Higher angle – looking down

•Fill the frame – crop top,bottom and sides


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Bryan Schutmaat


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Alec Soth


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Sally Mann


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Rineke Dijkstra


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Richard Avedon


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Elinor Carucci


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Mary Ellen Mark


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W

I T H

O U T

F A C E A


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INFERENCEINFERENCE

through light & shadow

through symbolism & metaphor


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Cropping


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Obscuring Obscur in g


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Manipulation of

Camera SettingsAperture / Shutter Speed / Spot Metering / Focus


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Berk Hassan

connectionA camera is a way to connect with people


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y p p

beyond your normal interactions

how do you

connect with

people?

content


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• Shoot from your personal point of view

• Get access - it is a responsibility• Create trust, create a relationship• Fearlessly assume you have the right to be there –

persistance + patience + trust

Certain things need to be visually translatable – they needto be visible on the surface in order to be seen in aphotograph


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p g p

STRUCTURE

Consider:


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Consider:

• framing• background• expression• the moment• content

what is content?

wait for a trueemotional moment

• Leave no space unaccounted for• Use the edges• Layered not busy


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• Layered, not busy

• Consider different distances and angles


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interpret


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• Say something about the person and atmosphere

what is your point of view?

how do you feel

about the subject?

interpret


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• Say something about the person and atmosphere

what is your point of view?

how do you feel

about the subject?

• Be an interpreter with a

camera, not just an

observer or illustrator

• Photography is not a factual, but a descriptivelanguageT l t th i ll d ti ll


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• Translate the scene visually and emotionally

SUBJECT

The picture is about the


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your subject gives you

something amazing that

you can never give back

• The picture is about the

person. It’s not about you• Work with what you haveand with who your subjectis

• Let people do whatcomes naturally

• Allow for spontaneity

• Consider a person’s belongings• Give context with a sense of space and depth• Elevate the subject beyond their moment and


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Elevate the subject beyond their moment and

circumstance


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