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Archive 2008 · 3 Seniors . . . Same locale

sboerup
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p.1 #1 · 3 Seniors . . . Same locale

Had a great 2 weeks and was able to work with 3 great seniors, the stragglers of 08'. Just wanted to share a few. It was a little challenging as all requested the same location, and I wanted to keep them different (portfolio wise all the same pose in the same location is redundant and boring).

Tell me how I fared, thanks.

1


	http://www.spencerboerup.com/blog/images/posts/3.20.08/Daniel.Nicholl-040.jpg


	http://www.spencerboerup.com/blog/images/posts/3.20.08/Daniel.Nicholl-003.jpg


	http://www.spencerboerup.com/blog/images/posts/3.20.08/Daniel.Nicholl-083.jpg


	http://www.spencerboerup.com/blog/images/posts/3.20.08/Daniel.Nicholl-097.jpg


	http://www.spencerboerup.com/blog/images/posts/3.25.08/Halie.Hughes-007.jpg


	http://www.spencerboerup.com/blog/images/posts/3.25.08/Halie.Hughes-012.jpg


	http://www.spencerboerup.com/blog/images/posts/3.25.08/Halie.Hughes-031.jpg


	http://www.spencerboerup.com/blog/images/posts/3.25.08/Halie.Hughes-103.jpg


	http://www.spencerboerup.com/blog/images/posts/3.26.08/Brett.Dillon-006.jpg


	http://www.spencerboerup.com/blog/images/posts/3.26.08/Brett.Dillon-049.jpg


	http://www.spencerboerup.com/blog/images/posts/3.26.08/Brett.Dillon-073.jpg


	http://www.spencerboerup.com/blog/images/posts/3.26.08/Brett.Dillon-112.jpg

Mar 26, 2008 at 01:47 PM

DBPhotography
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p.1 #2 · 3 Seniors . . . Same locale

As always, beautiful work. Great lighting. Great everything! Your work always leaves me inspired. I especially like the look on her face in number 6.

Scott

Mar 26, 2008 at 03:09 PM

cmillc22
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p.1 #3 · 3 Seniors . . . Same locale

great lighting and locations

Mar 26, 2008 at 04:29 PM

cgardner
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p.1 #4 · 3 Seniors . . . Same locale


	http://www.spencerboerup.com/blog/images/posts/3.20.08/Daniel.Nicholl-040.jpg

Facial angle isn't precise with an odd bit of ear hanging out on the left obscuring the oblique profile.

Glasses have slipped down the nose covering the eyes a bit.

Crossed lighting is creating dark stripe down center of nose. Our brains normally associate lighter = higher and darker = lower so it looks a bit odd and draws attention to the nose. Right side of face hidden in shadows looks different from left - lack of symmetry due to the lighting pattern.

The arms hanging out in the foreground pull the eye down and off the face.

The background, particularly the post on...Show more →

Nicely posed and composed overall. The dark nose shadow is very dark and unflattering due to a lack of fill. The light from the left side is being shaded by the left side of his face. Fill needs to be in front of the face (i.e. over the camera) to avoid nasty shadows like that.

To avoid a distracting nose shadow try this: Place your key light so the shadow from the nose models its shape naturally, not hanging out and creating a distraction. Add neutral fill from over the camera to lift the shadows evenly to the point where the camera sensor can record detail in the darkest shadows, then "sculpt" the shadows by feathering the fill, adding reflectors, or accent lights.

It is easier to find the most flattering angle of a person's face before shooting when you are not so focused on things like keeping the eyes in focus. Look at the face profile-to-profile and your eye will tell you which is most flattering. A square, nose forward, ear same size, full face view will quickly reveal any asymmetry you might need to mask with the angle / lighting strategy. Looking at both oblique views will reveal which is the most flattering when facing the camera. Looking at the nose from eye level, above and below will reveal the most flattering camera height.

If you have a clear mental picture of all of those things BEFORE starting shooting the percentage of flattering poses without the minor distractions like nostrils and bits of ear hanging out go way up because you will be more attuned to spot and eliminate them subconsciously when shooting. Its bit like golf. You go to the range to groove your swing path, so when you are standing on the course over the ball you don't need to think about your swing path, it just happens correctly subconsciously to cause the ball to fly to the target you've visualized.

Its not about RULES, it is about goals: finding the combination of angle and lighting pattern which meets the goal of flattering the subject as much as their face combined with your skill will allow. I see this stuff because: 1) I was trained to spot those things by a critique of every single shot I took as a pro, and 2) I've been training my eye ever since.

Edited by cgardner on Mar 27, 2008 at 02:52 AM GMT

Edited on Mar 26, 2008 at 04:52 PM

Mar 26, 2008 at 04:33 PM

JayDavis
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p.1 #5 · 3 Seniors . . . Same locale

Are you kidding me? I think you did a great job with all of them. Well done.

Mar 26, 2008 at 04:49 PM

liamh
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p.1 #6 · 3 Seniors . . . Same locale

Hey Chuck,

They are all valid points you make, but you did read that these were senior portraits, right? I mean, it's not like the poor smudger had Brad Pitt and Kate Moss to work with. As for #4 you didn't really need to point that out, even my Great Auntie Elsie knows the difference between an iron and a wood

Mar 26, 2008 at 05:02 PM

varome
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p.1 #7 · 3 Seniors . . . Same locale

Great job Spencer! Beautiful portraits... I love the lighting... I'll be in Tucson this weekend to visit the fam. I actually miss the desert!

Mar 26, 2008 at 05:41 PM

cgardner
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p.1 #8 · 3 Seniors . . . Same locale

liamh wrote:
Hey Chuck,

They are all valid points you make, but you did read that these were senior portraits, right? I mean, it's not like the poor smudger had Brad Pitt and Kate Moss to work with. As for #4 you didn't really need to point that out, even my Great Auntie Elsie knows the difference between an iron and a wood

If you think they are all valid points, what is your point? There is an odd tendency to here to beat up on anyone who doesn't rave that every photo is perfect as is. Let's let the OP decide if he found my comments helpful or not shall we? If not I will not waste his time reading them again

I didn't say the photos were bad, simply that each one had some things I see which if changed would, in my experience lighting faces, flatter the people in them more. For example, look at the same face in #10 and #11. Which do you find is more flattering and why? If you are objective you will probably reach the same conclusions I did. #11 has a more flattering facial angle and no dark and distracting harsh shadows on the face. Flattering person is really as simple as that on the most basic level.

Shooting an oblique view of a face without distracting bits of the ear or cheek hanging out past profile is about as basic to portraiture as pounding a nail without bending it is to carpentry - its not about "rules" or "art" but craftsmanship. The devil, and difference between good and great, are in the details I pointed out. Learning to spot them when shooting requires: 1) being aware of the the problem they create (distractions), and 2) consciously watching for them until eliminating them becomes instinctive.

Actually the kids he had to work with had very photogenic, symmetrical faces. That type of face is in fact the easiest ones to photograph and if one don't understand the how best to flatter a naturally symmetrical face them the a lopsided one will be a far greater challenge to know how to minimize with facial angle and lighting patten.

Edited on Mar 26, 2008 at 05:54 PM

Mar 26, 2008 at 05:53 PM

liamh
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p.1 #9 · 3 Seniors . . . Same locale

Hey Chuck,

Easy tiger, read a little slower. My post is not a dig at you, it's a joke and it made my wife laugh out loud for longer than is good for her. There's no need for the frosty riposte, we're all friends here.

Regards,

Liam.

Mar 26, 2008 at 06:03 PM

JubbaKing
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p.1 #10 · 3 Seniors . . . Same locale

Spencer, these are all nicely done and better quality than what most do. Chuck nailed it on the head with his advice so I won't repeat it.

Your lighting and density is very consistent and that's a huge plus. Why do you add a kicker light on the opposite side of the key on most of your photos? If it's how you like them to look, great, but if you're doing it just to do it, I'd say save it for certain occasions. Take number 4 for instance. The kicker is so bright on his face (I love it on his clothes though) that it makes his face look extra wide. This is fine if that's your intention. If he was a heavier guy, this would make him seem heavier. Highlights jump out at you while shadows recede so keep that in mind...what do you want to stand out to please the subject's features?

I'd like to see a little more variety in your poses. The hand on top of hand or clasping the hands, etc. is a little repetitive.

On #8 I agree that the poles shouldn't be tilted. They aren't tilted enough to make the tilt look intentional is all.

#9 Had you found a way to pose him that his face was turned a little more towards the light, the light would have more wrap around his face and be more pleasing I think.

On photos where the kicker is spilling onto the nose, just take the clone stamp tool with a blend mode set to DARKEN and an opacity around 3%0 and you can clean those up no problem.

Mar 26, 2008 at 06:56 PM

sboerup
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p.1 #11 · 3 Seniors . . . Same locale

Thanks everyone for the comments.

Chuck always comments on my stuff and I do appreciate the feedback. I know his background and his intentions. The only thing that I think makes his comments seem a little out-of-line or harsh is this: this is real world shooting, with limited time and resources, shooting on locations where I can't control every single aspect of every little detail. When reading the comments, I see exactly what he states and say "yes, duh!" I know exactly what he means, and see what could have been fixed, but like others said, this is Senior portraits.

I'm not in a studio where I can control every little detail like lighting. But I'm also not just outside shooting and placing my light wherever. I put my light where I want it for a reason. Do I really care about an obtuse shadow on the side of a nose? Not really, if I was that picky, I would have fixed it. When I want short lighting, I'll do it. Same goes to broad, butterfly, etc. All in all, his comments are spot on. Some I don't agree, but none of us will agree on everything. Chuck was trained by a Master, and the Master did his photography his way. Yes they are widely accepted rules, but that doesn't mean I think they are all "hard-fast" and MUST be used to create a perfect portrait.

If I had extra time and assistants to help me lug stuff around, support large softboxes outdoors so that they don't topple, etc etc, it would be easier to do those things. At the same time, I know that my clients don't want to wait around while I sit and change lighting angles all the time. Also, I will always watch the ears and make sure I get one that I think is "portrait perfect", but the client always chooses the other one that looks more relaxed and less posed. So, YMMV but I really do appreciate the comments. I can easily say that I've learned almost everything I know from FM and the people that chime in. I've only been at this for 2 years or so.

Chuck knows what he's talking about. I find it sometimes to be a little old-fashioned, but the principles still apply.

Jubba - I only used a kicker in #4, the rest is just 1 light and ambient. Yes, my greatest weakness and block right now is variety. I'll do some other fun ones but Mom never likes it, and it doesn't get bought. But, I really do want to spice it up and get some variety.

All in all, the clients loved them which is what matters to me. I come here to get feedback and realize my dumb mistakes so I can improve. I'm glad that people really like them and think they are fantastic, and I'm glad that others find my faults and point them out. Chuck will comment on most of my stuff, and if I didn't like it I wouldn't be back here

Edited on Mar 26, 2008 at 07:37 PM

Mar 26, 2008 at 07:36 PM

sboerup
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p.1 #12 · 3 Seniors . . . Same locale

On an additional note, all posted here were the families 4 top favs, out of over 100 per senior.

Mar 26, 2008 at 07:41 PM

zincmask
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p.1 #13 · 3 Seniors . . . Same locale

Great Photos!! What kind of lens did you use? 85mm?

Mar 26, 2008 at 08:37 PM

sboerup
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p.1 #14 · 3 Seniors . . . Same locale

Most were 70-200L, with a couple on 85L.

Mar 26, 2008 at 08:57 PM

CRFTony
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p.1 #15 · 3 Seniors . . . Same locale

Do you have good print sales showing over 100 photos? I showed a ton my first year and found clients were overwhelmed. I cut it back to 28-36 photos this year and my sales nearly doubled.

Very nice work!

Mar 26, 2008 at 08:58 PM

Chris Tylko
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p.1 #16 · 3 Seniors . . . Same locale

Guys this was a great thread!
I don't do portrait work and while I think I have the natural feel for landscape, nature and abstract work, I don't have it for portraiture...but I do have a lot of respect for all of you who do (that's why I lurk here).

Please remember that C&C is not necessarily constructive to the original poster alone! I certainly appreciate it! Thanks!

Edited on Mar 26, 2008 at 09:02 PM

Mar 26, 2008 at 09:01 PM

JubbaKing
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p.1 #17 · 3 Seniors . . . Same locale

Spencer,

I think you DO have time to move the light where you want it. Clients don't care as long as you make them look good. Is it more important for you to take a lot of photos or to take several quality photos? It doesn't take long to move one light to the position you need it. It just comes natural after a while.

The creative shots are rarely bought yes, but they go great for portfolios to get noticed. The classical rules are the foundation. Break them only when you know why you're breaking them. The classical portrait rules are widely ignored by photographers for some reason, foolishly citing that they are outdated in today's world....that's b.s. my friend. The rules can be applied to any type of portrait-work, regardless of how contemporary or not the portraits may be.

Yes, you're not in the studio and you are handling the light nicely. You don't need a lot of equipment for these seniors. A single strobe with an umbrella, bare bulbed or a small 9x19 softbox will do. Different story if you want to use natural light but even then, you can find nice lighting.

The rules don't mean you'll get a "perfect portrait" but they help you get there. If it looks good, take it. Rarely though will things just fall into place however. That's where the rules come in handy.

In the end, expressions sell portraits. The client rarely can tell that you're lighting is good or not so by your current reasoning, why light them with a strobe anyway? You know the difference in quality but they don't unless you put them side by side with something that's bad. When you say they buy the one's where they think they look most natural, that's true. Expressions sell. Following the rules is not what makes people look stiff. The rules do the opposite.

The picky stuff is just that; being picky. If you're not picky you won't improve and you won't stand out from the other pros.

Check out this guy named Ron Kramer. He is a classically oriented senior photographer. He follows the rules and creates beautiful, salable and timeless work with beautiful lighting and everything he does flatters his subjects. Great quality stuff right here. http://www.houseofphotography.com/

Mar 27, 2008 at 01:29 AM


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