Posts tagged “portrait

Family Tradition

Our Traditional Family Christmas Portrait   35mm, f/8, 1/40

Our Traditional Family Christmas Portrait 35mm, f/8, 1/40

It’s only the second year we’ve taken this photo, but we’re calling it a tradition anyway.  We once again piled wrapping paper on ourselves and snapped a family photo.  No one is posed — “sit down, grab some wrapping paper, and smile at the camera”.  I used f/8 to get sufficient(ish) depth of field and the lighting is simply an on-camera flash bounced up and behind the camera.  I have a wireless remote but used the self-timer for this shot (I had forgotten to get the remote out and everyone was just ready to get the pic done and go make breakfast).  I ended up having to photoshop a new version of myself and one of my daughters into the shot — that’s standard operating procedure in our family shots it seems.


Birthday Candid

http://www.flickr.com/photos/michaeltuuk/8185029570/in/photostream

Birthday Candid 140mm, f/6.3, 1/160s, ISO 200

Our youngest turned one year old recently and on her birthday I wanted to capture a “good” portrait.  It would be her “official” one-year picture.  Of course I decided to try something I hadn’t done before — a high-key portrait with a white background — which ensured it would take three times as long as something I’m already comfortable doing.  I don’t have white seamless paper and I don’t have a proper background stand.  So…I have a huge (12′ x 20′ I think) white polyester background that I picked up on clearance for $20-ish.   I draped this over the back of a couple of chairs (with my subject being only a couple feet tall I didn’t have to worry about the height).  My main light was a speedlight into a reflective umbrella at high camera left, triggered by an  Elinchrom Skyport.  I placed a large white reflector on camera right and used a speedlight behind the subject to light the background.

My first issue was to decide how I wanted the background to actually look.  Blown out?  Super smooth (problematic with the deep creases in the freshly unpackaged cloth and being draped over uneven chair backs)? Don’t worry about it and fix in post?  From a quick internet search I learned that I couldn’t simply iron that polyester cloth and get rid of the creases in a few minutes.  In the end I went with an aperture that blurred the background somewhat but provided a safe depth-of-field for the shots.  My daughter was far enough from the background so it would be reasonably out-of-focus and I could reasonably edit it in post for a few shots if desired.  The background light was adjusted “to taste”.  I had planned to shoot with a much brighter background but the light was too uneven (no surprise when trying to light with a single speedlight in the center).

The shot above was taken as a test during setup.  The hair and clothes are a mess (hadn’t prepped her yet) — but it’s cute and I decided that this is actually one of my favorites.  The only edits were crop, slight WB adjustment, sharpening around the eyes, vignette, and the removal of a small scratch on the skin.  I really like the way it turned out overall even if the background isn’t ideal.


Beep, Beep

Let Me In?

For several weeks now we’ve had a road runner showing up on our back porch.  The first few times it showed up it went around finding dried cicada shells (or whatever they are) and eating something out of them.  There aren’t any more shells around that I have seen but the road runner still shows up here and there.  Today it walked right up to the back door and peered in.  We have two sets of sliding doors in the back and as the road runner walked between them (out of view) I grabbed the camera off the table — I had left it there after snapping some pics of my daughter yesterday.  I managed to get in position before the road runner was back in view and when it showed up at the other door I was able to take some pictures without scaring it off.

The backlight was really bad and the reflections on the glass caused some greenish weirdness but if you’ve ever been around road runners you know they’re very skittish and you don’t get them looking in your back door every day.  I was grateful to snag a few pics regardless of the quality.


Quit Using Auto White Balance

White Balance Fixed 50mm, f/1.4, 1/160s

Ever since taking Raul Touzon’s workshop I almost never shoot using auto white balance (AWB).  The camera rarely gets the white balance correct when it guesses, and the photos from a single shoot are often inconsistent in color when they are shot with AWB.  If they are going to be “wrong” when AWB is used, you might as well guess wrong yourself by choosing one of the manual white balance modes — at least the images will be consistent with each other.

Ideally one would shoot an image of a gray card (or a similar type of product) which has a known color and use it either to set a custom white balance in the camera or to sample it in software to do an automatic adjustment.  If I don’t use a gray card, I pick a WB mode (my default is “daylight”) and shoot everything with that.  In Lightroom I either sample a white point to fix up the WB or I adjust it to taste (I might even want to make it wacky here and there).

The shot above was snapped in the kitchen while I was testing my newly-repaired camper.  Canon had changed all my default settings of course and I don’t even remember what WB was set in the camera.  No matter, I simply used the WB eye dropper to sample one of the white polka dots on my daughter’s dress.  The image above is the result — straight out of the camera except for the white balance.

White Balance Settings In Lightroom

Original image:

Original Image


Winter Dresses…In July

Winter Dresses 90mm, f/2.8, 1/250s, ISO 200

I’ve been very delinquent in taking the picture above — my youngest girls in their matching winter dresses.  Between the baby’s sleeping schedule, weather, and that general “don’t feel like doing it now” feeling that we all get (wasn’t just me) we haven’t gotten these done.  I took the day off today and I made it a definite to-do item for this morning when our infant (“Dolly” as we often call her) is usually happiest.  We ended up pushing it a little — Dolly was ready for bed by the time we were done.

The usual caveats apply: I don’t like this or that, I’m not happy with the light (we waited too late in the morning), I don’t like the setting/background, and I’d change/fix/tweak many things.  There wasn’t so much posing as there was “Hold her and look at the camera quick before she gets fussy”.  However, my wife says: “I don’t care about the professional photo — I just want a picture of them together with their dresses so get it done”.  It’s hard for me not to try to make everything as professional looking as I can, however meager my attempts may be.

Exposure was a bit tricky.  The dark skin, light skin combination was challenging to balance (always takes some effort in our family pictures since we have four races and a wide range of skin tones).  I chose to use no additional lighting — we just wanted to get this done and not fiddle with triggers, umbrella, and adjusting flash power.  The sun was in and out of the clouds which affected the exposure dramatically.  Ultimately I determined my exposure by metering Dolly’s light skin to avoid blowing it out (I shot in manual mode).  For my taste we couldn’t go any brighter than you see above and we got sufficient exposure in the dark skin so we could make do.  There were of course the usual difficulties in getting two children to look good at the same time.  The littlest didn’t cooperate very well — she wasn’t a complete crank but wasn’t her usually smily self.  In the end I ended up swapping a head to get them both looking good.  I lightened the dark skin a bit more and tweaked the image with several curves, exposure, and saturation adjustment layers.


Family Portraits…Another Lesson Learned

(Mostly Salvaged) Family Portrait

As much as I don’t want to post my mistakes — especially the really stupid ones — they can be helpful to look back on and point out to others.  It depends on the natural light situation of course, but in a portrait like the one above I often use a single strobe through, or reflected from, an umbrella placed above-camera.  This may be to provide a catchlight in the eyes, a bit of fill in the eye sockets, some overall light, or all of the above.  I occasionally use a bare strobe (well, sometimes with a gel but no other modifiers) to give a hint of a rim light on the shoulders to help separate the subjects from the background. My daughter typically holds this in position behind the subjects when I use it.  During a recent family portrait shoot on the grounds of the Texas Capitol I pulled a real boneheaded move with this light.

Just before we shot the pose above (which fortunately wasn’t the “preferred” pose) I got my rim light strobe out of the bag and quickly tested that everything was working (flash on, remote trigger operational, my guesstimated manual power set).  All was well so I dropped it in the grass and we set to arranging people and reminding the kids not to watch the squirrels running around.  We shot a bunch of frames to make sure we caught everyone looking their best-ish and moved on to our next pose.  I had decided not to use the rim light because the separation from the background seemed fine.

To my horror, when I loaded the pics up on the computer at home, I noticed that all the shots of this pose had a bright light in the grass and two of the subjects were lit like they were being blasted by the sun.  Well, they *were* being blasted — by my portable sun as you see in the picture below.  I had left it turned on and the trigger active…probably at 1/4 power.  Oops.  I couldn’t believe I had not noticed this while chimping my test shots.  My (young) daughters didn’t point it out — one didn’t even notice and the other assumed that I intended to use the flash that way.

Needless to say it was a big mistake.  While this was not the ideal pose we wanted to keep one from this set.  I was fortunate enough to have a reasonable fixable frame in the bunch so I went to work.  Switched a head, toned down some of the effects from the misplaced strobe, and made the other usual edits.  I believe the photo *is* completely salvageable given enough effort and time and I may work on it for practice in the future.

Lesson learned.  Chimp and look around the *whole* frame — Check everything…check again.

Unedited Frame


The Making Of A Family Portrait

Family Portrait, Texas Capitol Grounds   80mm, f/4, 1/60s, ISO 100

This post could also be titled “What Are You Paying A Portrait Photographer For?”.  Important caveat: the comments below have nothing to do with the family in the portrait.  Their portrait just provides a convenient moment to bring up the subject.

There’s great debate in the world of photography regarding business and pricing models.  Some well-known photographers go so far as to denigrate other photographers because they price things cheaply, sell CDs with all the images, charge only $1000 to shoot a wedding and reception, etc.  I’m in the camp of “I’ll do things my way but I couldn’t care less how someone else does it”.  If someone wants to charge $50 for a photo shoot and a CD of images, so what?  If someone wants to let a publication use an image in exchange for “exposure”, so what?  I’m amazed when photographers actually get personally offended at other photographers for this — it’s a free world and everyone is free to give away whatever they want.  I’m not going to shoot weddings for $1000 or hand out digital images on the cheap (except for photo donations to certain organizations like this — shameless plug — I donated the Austin skyline image at the top of the American Red Cross of Central Texas page and images for a couple other sites) but I don’t care if anyone else does.  If I cannot add enough value to make it worth purchasing my services — taking photos, providing prints, etc. — then I don’t deserve the business.  If Joe Blow undersells me by some huge margin and the client is happy with the result, that’s my fault for not clearly differentiating myself (and I’m apparently not as good as I might think!).  If the client isn’t happy with Joe Blow…it’s either my fault for not convincing them my services are worth it or theirs for being duped by the “too good to be true” offer.  Also, not every client is willing to pay for the same level of service and/or quality — that’s true for any type of product.  That’s why there are both Toyota Corollas and BMW 750s available on the auto market for example.

Along those lines, a common remark is “I can’t believe I have to pay so much for a print!”.  Often the comment includes “…when I can just go to Walgreens and pay $XX”.  Ignoring the issue of the poor print/color quality you may get at a Walgreens, I’ll tell you what went into producing the family portrait above in hopes of giving some understanding of why you might pay so much for a “print”.  If you’re not convinced, that’s fine — not everyone cares about the same level of quality or detail and it’s completely within the rights of every consumer (of any product) to choose the product that suits them.  It’s also the right of a photographer to specify “You aren’t printing anything with my name on it at a Walgreens”.

The short answer: You’re not just paying for a print (ie just a piece of paper).  You’re paying for equipment, art/creativity, editing, making you look your best, years of skill building and practice, etc.  After all, you’re hiring a photographer because you know you can’t just hand your point-and-shoot to someone on the street and get the family portrait you are after.  You are also (hopefully) hiring a photographer because he *knows* how to go make that picture you want and doesn’t just press the shutter over and over in the hope of accidentally getting a good shot.  I think that people accept this more when it comes to most other forms of art or craft.  If you commissioned an artist to create an oil painting to hang over your mantle and he charged $500, would the first thing out of your mouth be “But you only had to pay $50 for the canvas and paint!”?

So, what went into this photo?  Here’s a partial list:

(1) Picking a decent time and location.  Upon arrival, quickly picking a specific spot to provide good light, a good background without distracting elements (subjective of course).  Or…scout a location ahead of time.  The location for the above portrait is the Texas Capitol grounds.  The time was chosen in an attempt to balance getting a family out the door early enough for good light and cooler temperatures, yet late enough to not be miserable.  There was a partial gamble here — we went a little later than I’d like gambling that the partially cloudy skies would block the sun often enough.  That gamble paid off.

(2) Pick the right lens.  Long/wide/normal…this has a big effect on the final image.

(3) Determine aperture.  I wanted to go as wide open as possible for maximum blur in the background.  However, in a family portrait in particular, depth of field really comes into play.  Even if you calculate the “right” DOF you have to be careful where you focus.  For example, if the people in the portrait are 2 feet deep and you use an aperture which gives you a total DOF of about 2 feet, you had probably better not focus on a face in the front of your group.  If you do, some of your in-focus plane will be in front of the group while the rear of the group will start to go out of focus.  I’m not explaining that well but suffice it to say that it matters.  There’s always the option to stop way down and get a bunch of the background in focus to be safe but that’s not (generally) what you want.  For this photo I varied position and focal length a little bit but was generally working with about a 3′ depth of field at f/4.

(4) Determine optimal exposure around the chosen aperture — shutter, ISO.  If using a strobe, be sure the shutter is within the maximum sync speed (Don’t know what that is? That’s why you pay a photographer.).  Set up a strobe — triggered remotely — and umbrella with enough light to provide good fill yet not so much light that the image screams “FLASH WAS USED!”.  Yes, flash was used in this image.  Direct assistant (daughter) to position the light certain ways.  Shoot whenever the sun is behind the clouds.  I set my exposure for this case and timed the shooting accordingly.

(5) Arrange the family reasonably — lots of options and opinions here but time is precious (see next item).  I could name 5 immediate things I’d change about the posing in this photo but we were trying to get something quick.  Pay particular attention to dad being in a masculine pose of some sort.  You don’t know the difference between masculine and feminine poses?  That’s another reason you pay a photographer.  Have you ever seen a family photo where the dad has his knees turned together and his hands folded gently on his lap?  It doesn’t usually look masculine.  Note that it has nothing to do with “macho”, but most dads don’t want to look like a total sissy.  Shoot the family arrangement with enough margin in the photo for various cropping options (uncropped photo above).

(6) Do all the above before the kids have the meltdown that the mom warns you about (picture-taking is pure boredom for kids and they may not last long).  That’s why the background may not be perfect, light may not be perfect, and posing may not be perfect — you need to get *something* before you hit the point where you can’t get *anything*.

That’s the picture “taking” part.  Then you have the “picking” part:

(7) Import your photos to your favorite software.  Go through them one-by-one with a semi-critical eye to weed out the absolute rejects and pick the possible candidates for editing.

(8) Go through the pictures with a MORE critical eye.  Smiles, eyes, hair, positions…which are the keepers?

Then come the edits.  The saying is “Get it right in the camera” but some realities come into play.  Pick the best photographer you know and ask them if they use many images straight out of the camera.  Not a chance.  In our case, remember all that hustling to get *something* before the kids melt down?  We got our exposure right in the camera but I didn’t try to perfect the posing, didn’t take time to pick up every distracting leaf/branch.  I left some background elements in that I knew I could reasonable fix later.  And so on…

(9) General edits…tweaks to white balance, contrast, etc.  Includes making use of your experience regarding how a photo will print in addition to what it looks like on your screen.

(10) Switch mom’s head to get her nice smile in the same image as her kids’ nice smiles (resize it, rotate it, mask it in and make it look like it belongs).  Fix gaps in mom’s hair so it’s as nice as the head we replaced (thanks to Scott Kelby for excellent tips on how to replace/add whole sections of hair — worked like a charm).

(11) Replace one child’s face.  Same smile as the one we started with but in the original they were moving and therefore blurry.  Fortunately we had an exact match (size, position, and smile) in another frame which was sharp.

(12) Remove a scab, some drool, and stray hairs.  Tone down a few specular highlights on the lips.  Remove dead leaves in the grass.  Replace some background elements with trees and vegetation.  I even added a technical flaw (on purpose) to make the photo more aesthetically pleasing.  I won’t point it out but some clever person will probably notice it.

(13) Touch up bags under eyes…hey, the kids got up really early for this.  I don’t like to go to an extreme but I at least tone them down.  Some photos might require significant skin touch up (this photo didn’t need any other than the bit under the eyes).

(14) More general stuff…vignette, selective sharpening, local exposure and contrast tweaks to taste.

All told — hours worth of work.  Although I have MANY more skills to learn, what skills I do possess so far came not only from work on this photo, but hours worth of practice in weeks, months, and years past to learn the skills needed to set up, take, and edit the photo.  Maybe a few things are overkill and just part of my perfectionist bent (I see plenty more that I would tweak even).  However, I don’t want mom to walk by the mantle for years and think “I wish that tuft of hair wasn’t hanging down over my forehead” or dad to think “I wish so and so would have held still so they would be in focus” and so on.


Pike Place Market

Pike Place 50mm, f/2.8, 1/100s

A recent picture of two of my girls strolling in Seattle’s Pike Place Market.  Looking forward to getting back to Seattle soon.

Tulips 50mm, f/2.8, 1/160s

I loved the contrast between the blues in the windows and the oranges/yellows in the flowers in the next shot.

More Flowers 50mm, f/1.4, 1/3200s

Peppers 50mm, f/2.2, 1/160s

I liked the possibilities in the next shot but didn’t execute it very well.  The water and buildings made a cool backdrop through the windows IMO.  I used manual mode and stopped down to f/14 to get a lot of depth of field and used a shutter speed fast enough for my shaky handholding yet slow enough for flash.  It was a dark place relative to all the light streaming in the windows so flash was a must if I was going to keep the rainy mood in the background.  I had no way to get the flash off-camera and bouncing didn’t work well so it’s not a lot better than a point-and-shoot.  I’m sure I could have improved it with some effort but I didn’t want to stretch the girls’ patience too thin.

Portrait 50mm, f/14, 1/200s


Candid Baby Girl

Smile 105mm, f/4.5, 1/20s

Most of our family’s favorite pictures are candids like these.  While at the dinner table our daughter was being cute as usual and the 50D was just sitting out from having been used for these pictures of a fawn.  My 70-200mm lens was attached and while I was tempted to open all the way up to f/2.8 (love the bokeh) I stopped down to f/4.5 to keep a little more depth of field in the portraits.  The toughest part, as always with a wriggling baby, was focusing on the eye and taking the shot before she moved out of the plane of focus — which was 2″ at the wide end of the lens with this body/lens combo @ f/4.5.  I had mixed success but the shots we ended up with are fun.  Exposure, contrast, vignette, and noise reduction in Lightroom…

170mm, f/4.5, 1/30s

I Want That Cup!!!  70mm, f/4.5, 1/45s


Missing The Snow

I never thought I’d say it, but after the heat today I wouldn’t mind being back in the snow (grass is greener thing).  In March we enjoyed some tubing at Snoqualmie Pass in Washington.  Some of us really didn’t have the clothes for it but we made do and decided to tough it out — it was great.  Given our snow activities I only brought along an old point-and-shoot for the actual tubing part, but the portrait at the top was taken with my DSLR on a tripod.  The idea with the tripod was that I would be in the picture as well, using the remote to trigger the shutter.  I couldn’t get the remote to work, however, and it was too far of a run around the snow piles to use the timer…AND I really didn’t feel like explaining to any passers-by how I wanted the shot composed (rarely seems to work out).  The little ones were freezing and were just ready to be done anyway.  For the other shots the point-and-shoot worked fine — mostly.  The main problem I had was that the white balance was all over the place and made each shot look like entirely different light.  I got a few “action” shots but just liked the “environmental portraits” better.

Relaxing On The “Lift”

It’s A Long Walk When You Wipe Out And Have To Fetch Your Tube