By William S. McIntosh
From a grasp photographer who has photographed different well-known photographers, Joint Chiefs of employees for the armed prone, and the Aristocracy within the uk, this ebook offers a behind-the-scenes examine the paintings of 1 of the main acclaimed portrait photographers ever. Photographers persist with McIntosh's footsteps, uncovering magnificent settings, unique consumers, and masterful strategy. They learn how to create environmental photographs in demanding destinations, adjust mild to its most sensible impression, and compose and pose consumers. With the pairing of tutorial textual content and greater than a hundred graphics that span McIntosh's occupation, this ebook deals a definitive examine the fashion, suggestions, and inventive contributions of this grasp photographer.
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Extra resources for Classic Portrait Photography: Techniques and Images from a Master Photographer
The exposure was made just before it went below the horizon. 6. (SUBJECT—The Robert Taylor family; DATE—1997; CAMERA—Mamiya RZ67; FILM—Fuji NPH, ISO 400; LENS—65mm) FACING PAGE—A good-looking young woman and her dog are always a good picture combination. The sun on the beach was just right when this portrait was made. A strobe was not needed; the sun was just a little to the subject's left. 1 30 second at f-5-6. (SUBJECT—Michelle Lyons; DATE—1997; CAMERA—Mamiya RZ67; FILM—Fuji The exposure was / NPH, ISO 400; LENS—65mm) THE TWILIGHT PORTRAIT 57 FACING PAGE—I had visited the top of this hill at sunset and knew it would make a great background for the right subject.
This portrait was planned a year before it was made. Just before it closed for the winter, I visited MacKay National Park, located 90 minutes from my home on the border between Virginia and North Carolina. I was impressed with the location and arranged the sitting for the following year at the same time. I will go to almost any length to get a fine portrait—I’ll rent or borrow the clothes, buy the basket and flowers, and spend a half-day or more on the session. Most of my work is on canvas, made for the wall and framed in museum-quality frames.
This style of interior is just right for the rich, long tonal scale portrait I like to make. The lighting can make the subjects stand out from the background and look three-dimensional. (SUBJECT—Dianne Frantz and her daughters, Lindsey and Elissa; DATE— 1996; CAMERA—Mamiya RZ67; FILM—Kodak NPH, IS0 400; LENS—65mm) FACING PAGE—The 30 CLASSIC PORTRAIT PHOTOGRAPHY The posing and lighting of most studio and outdoor portraits have, from the beginning of photography to the present time, been closely tied to the Victorian portrait painters and photographers.
Classic Portrait Photography: Techniques and Images from a Master Photographer by William S. McIntosh