Author - Head Shot
Bryce Wilson
Registered Users Posts: 1,586 Major grins
For the back of the book.
Lighting set up, session, post work and selection: 30 mins. Just the way I like it!
Maybe should have side lit him a touch more, but he was pretty happy.
The antique D-100 still gets pretty good images.
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Lighting set up, session, post work and selection: 30 mins. Just the way I like it!
Maybe should have side lit him a touch more, but he was pretty happy.
The antique D-100 still gets pretty good images.
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Comments
www.cameraone.biz
The eyes aren't a deal breaker and I personally would not have even noticed if it wasn't mentioned. It's a 10-second fix in post, but eye-brightening is tricky. I always err on the side of too little, so as not to make them look like one of the Avengers. Nothing you don't already know, I'm sure. If he's happy, it's a done deal. There's always something that you could have spent more time on.
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Thanks for the input. Didn't even notice the eyes.
Coppin the scene with the masculine lean...
Thanks for the input! My favorite for back cover is one as well.
Why thank you your Divaness.
Grassyass my friend.
Now, in an effort to please the critics,
In the end I know its not really up to you as your client picks the clothes, but do what you can.
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My only comment is that the skin tones look off to me? Too warm or towards the orange side?
Does anyone else see this or am I getting color blind?
Sam
Title of Book:
Disco: The Forgotten Era
Good thing I hid the gold Italian horn on the end of the chain or you would have really went off the deep end!
You might be right here Sam, they may not be perfect.
I stopped worrying about "perfect" skin tones for digital display unless they are going to be used for that exclusively. And I do tend to err on the "Kodak Warm" side. I have three different monitors, calibrated, and none are exactly alike when it comes to skin tones.
If the image is such that the lab which does the printing, which adjusts for skin tones on people portraiture, is able to print it right, I've done my job in my mind.
I have to say I agree 100% (including your comments about Bryce's top-notch posing and lighting - the technicals are beyond solid
In seriousness, regarding not only this particular setting, but style changes, I think it should be client driven.
Take this individual for example. This is who he is and how he dresses. This wasn't wardrobe he picked out for a photo-shoot, it's how he presents himself every day. Would it be right to completely change his look for a portrait he is going to use to portray who he is?
As far as shoot styles, as with clothing styles, there are many. Me, I'm kind of a Brooks Brothers guy. Other guy's are Eddie Bauer types and yet others buy at Hollister and the Gap. It's up to the consumer to decide what they want to wear and where they are going to shop.
With photography, the consumer should pick one with a style that they are comfortable with. Older folks have an idea what "professional" portraiture should look like and it leans to the classic. If you provide them with a different look than that, they most likely won't be pleased. Younger folks have their own ideas and it leans more trendy. If you give them "classic" they won't be pleased.
Tweens and Teens, forget about it, I don't think I even want to try to make them happy!
Luckily, moms and dad's still pay for the senior product. Guess what? Most mom's and dad's still pick the classic looks over the trendy ones for the senior portraits.
www.cameraone.biz
http://digital-photography-school.com/clothing-for-portraits-how-to-tell-your-subjects-what-to-wear
So, after looking at that article, which if I am not mistaken is common knowledge, best practice family portrait stuff, how would the suggestions there be different, if at all, from single subject portraiture?
So it follows that if it is reasonable to suggest muted colors to a person who is by nature more flamboyant for the sake of the portrait, or perhaps a longer shirt to a subject who's regular habit is the "muffin top", or long sleeves to those that never wear them, then wouldn't it make sense to suggest that a variety of shots be taken? Shirt buttoned, shirt unbuttoned? You get the idea.
Main thing I stress about clothes is to BRING LOTS OF CHOICES. That alone has solved so many problems (I've certainly been caught short before when the client has brought something ghastly and I wind up "having" to work with it). But when they bring 3, 4, 5, 6, 10 changes (or combinations.... as long as they have ONE outfit I like, it doesn't matter if I do or don't use the others. I seldom use more than 3 (often only 1).
Where things get much more complicated is if one simply doesn't care for the client's "style", or if somehow that goes against the mood of the photographic. I've been pretty lucky - I have a very specific market, and few people come to me without having carefully gone through my blog/portfolio, so I think they have a good idea of what to expect (and, presumably, see themselves fitting into that style... which is why they chose me).
Lest this make me sound like Little Miss Goody Two Shoes who never has a problem - HA!! You've got be kidding. At the moment, one-shoulder, asymmetrical gowns with big foofy bows and zhuzzh on the shoulder make me crazy, and I'm not entirely crazy about sleeveless on 90% of women. As mentioned earlier this week, ill-fitting men's jackets are also a MAJOR pita (ugh, the photoshop work required to make them look good).
Good fodder for discussion, Dread - thanks for posting
ETA: Here's an article that was linked off the one you posted, Dread. Definitely worth a read
All I'd add is possibly a clone removal of the three white lint spots on the jacket.