{"id":13573,"date":"2012-03-20T14:33:00","date_gmt":"2012-03-20T14:33:00","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/uncategorized\/masterclass-with-andrew-sydenham-portraits-13573"},"modified":"2014-10-23T11:29:20","modified_gmt":"2014-10-23T10:29:20","slug":"masterclass-with-andrew-sydenham-portraits","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/portrait_photography\/masterclass-with-andrew-sydenham-portraits\/","title":{"rendered":"Masterclass with Andrew Sydenham – Portraits"},"content":{"rendered":"

Portraiture<\/h2>\n

AP photographer Andrew Sydenham demonstrates to three readers how a simple arrangement of lights can produce effective portrait photography. Oliver Atwell joins them<\/em><\/p>\n

Many photographers begin their love of photography by taking pictures of their friends and family. Be it holiday snaps or makeshift portraiture set-ups, shooting people we\u2019re comfortable with is an easy way to start understanding the ins and outs of our cameras and how light interacts with the subject being photographed. That\u2019s why in this Masterclass, AP\u2019s resident photographer Andrew Sydenham will be exploring the basics of portraiture and how a simple set-up in the home can produce effective results.<\/p>\n

\u2018In this Masterclass we\u2019ll be looking at some very basic lighting,\u2019 says Andrew. \u2018We\u2019ll look at how we can use light to shape and soften our subject, as well as shadow reduction on the subject and the background. We\u2019ll start by looking at high-key lighting and how we can photograph our subjects against a pure-white background.\u2019<\/p>\n

Andrew says that different lighting set-ups can create various degrees of mood within an image. \u2018After the more commercial-looking portraits produced with high-key lighting, we\u2019ll take look at low-key lighting,\u2019 says Andrew. \u2018Low-key is a lot more atmospheric and expressive, so we can have plenty of fun exploring that. It\u2019s a firm favourite with a lot of people who work in portraiture and the results that you can achieve are very expressive.\u2019<\/p>\n

Rather than using models, our readers will be photographing each other, meaning that they can feel comfortable moving at their own pace. The day will also find our readers working with two small sets.<\/p>\n

\u2018The sets we\u2019ll be working with today are being kept to an absolute minimum,\u2019 says Andrew. \u2018The idea is to work in an area that can easily be replicated in the home. The key thing to remember throughout this whole day is how these techniques and ideas can be applied to objects and lighting found around the average home.\u2019<\/p>\n

Andrew will also show the readers some helpful accessories, such as snoots and softboxes, that can either be built from scratch at home or bought cheaply online.<\/p>\n

\u2018When you realise how easily these objects can be made at home, you\u2019ll begin to see that producing your own basic portraiture images need not be a matter of renting out a studio,\u2019 says Andrew. \u2018Portraiture is one of the most fun things you can do. There\u2019s nothing more satisfying than manipulating the light to bring the best out of your subject.\u2019<\/p>\n

Your AP Master\u2026<\/strong><\/p>\n

<\/img>Andrew Sydenham<\/em>
\nAndrew has been a London-based studio photographer for more than 20 years, working for a wide variety of editorial and advertising clients. Specialising in food and still life, he has contributed to more than 100 books and magazines. He provides product photography for Amateur Photographer and What Digital Camera, and is passionate about lighting techniques and equipment. Andrew also teaches on Foundation in Photography and Foundation in Digital Photography SPI courses.<\/p>\n

The AP readers\u2026<\/strong> <\/p>\n

<\/img>Maria Mil <\/em>
\nMaria has a passion for portrait photography and is hoping one day to make it a full-time profession. She uses a Canon EOS 60D. \u2018It\u2019s been a really nice day,\u2019 she says. \u2018No matter how much you think you know, there\u2019s always some other little tip that can change the way you approach your subjects.\u2019<\/p>\n

<\/img>Chris Randle<\/em>
\nChris enjoys shooting various subjects, but is particularly keen on portraiture. He uses a Canon EOS 5D Mark II. \u2018It was a brilliant day,\u2019 he says. \u2018Getting a successful portrait image isn\u2019t always the easiest thing to pull off, but this day helped no end.\u2019\u2019<\/p>\n

<\/img><\/h2>\n

<\/p>\n

Colin Roberts<\/em>
\nColin describes himself as a keen amateur who started taking portrait images around two years ago. He uses a Canon EOS 400D. \u2018Today has been a great opportunity,\u2019 he says. \u2018Having had a bit of a break from photography, this was a great way to get back to doing what I love.\u2019<\/p>\n

Would you like to take part?<\/h2>\n

<\/img><\/p>\n

Every month we invite three to five AP readers to join one of our four experts on a free assignment over the course of a day, with food and refreshments provided. The experts are Tom Mackie (landscapes), Cathal McNaughton (documentary and photo essays), Annabel Williams (location portraiture) and Andy Rouse (wildlife). <\/p>\n

If you would like to take part, visit www.amateurphotographer.co.uk\/masterclass for details of how to apply. Please remember to state which Masterclass you would like to attend and make sure you include your name, address, email address, daytime telephone number and two or three examples of your work (preferably in your application). Each participant will be able to use his or her own camera, lenses and other equipment.
\n<\/p>\n

Breaking it down<\/h2>\n
<\/img>Photo by Andrew Sydenham<\/em><\/p>\n<\/div>\n

The first thing that Andrew is keen to discuss is the type of equipment the readers will be using.<\/p>\n

\u2018Today we’re in a studio environment, so we’ll be using the continuous lighting emitted from our monolights,’ says Andrew. \u2018We’ll also be using a series of accessories that we can attach to our lights to shape and mould the subject. However, I don’t want us to look at these lights and accessories as studio equipment. A lot of people can become a little overwhelmed by the numerous buttons and switches on this type of equipment. We just want to use these lights at the most basic level. At the end of the day the lights are just bulbs that can be switched on and off, just like a desk lamp or overhead light. A simple device like a directional lamp can produce some fantastic results when applied correctly. Everyone has desk lamps lying around and these little lights can produce some serious lighting. If you can control that light by using things like makeshift snoots and softboxes, then you’re halfway to producing successful portraits at home.’<\/p>\n

Andrew is also keen to point out that the accessories the readers will be working with today can be put together using everyday objects.<\/p>\n

\u2018A softbox is just a box,’ says Andrew. \u2018The only difference is that it has a sheet of translucent material over the opening to diffuse the light. That isn’t difficult to do yourself using a cardboard box and some tracing paper or kitchen roll. If you want to diffuse the light even more, you just double up on tracing paper. A snoot can be made from a piece of thick black card rolled into a cone shape and placed over your light source. The point is that anything we do here today can be replicated in the home. Everyone has white sheets or card that can be used as a reflector. That’s one of the most exciting things about this – the DIY trial-and-error nature of trying to replicate these effects in your living room.’<\/p>\n

Lenses and Depth of Field<\/h2>\n
<\/img><\/div>\n
Photo by Maria Mil<\/em>\n<\/div>\n

As with any genre of photography, your choice of lens should be a primary consideration.<\/p>\n

\u2018The two lenses that are, in my opinion, ideal for portrait photography are a 85-100mm and a 70-200mm,’ says Andrew. \u2018Both of these should provide a comfortable amount of distance between you and your subject, while using a zoom lens gives you a bit of free range to move in closer or a little further away from your subject without having to move your position.’<\/p>\n

A common problem that photographers new to portrait photography can encounter is trying to make sure that every part of the subject’s face is in focus. Anyone who has experience in portrait or even wildlife photography will know the horror of opening an image on-screen only to find that while the subject’s nose is in focus, their eyes lack the necessary sharpness.<\/p>\n

\u2018Take your time and think about what you are doing,’ says Andrew. \u2018There can be a tendency when working with live subjects to feel under pressure and rush things. I would suggest using autofocus to lock onto your subject and then switch to manual to tweak the focus and ensure the eyes are pin sharp. What you are looking to get in focus is everything from the tip of the nose to the ears. The thing to know is that there is a delicate balance between your light source, ISO, shutter speed and aperture. The important thing, as I’m sure everyone understands, is to get the eyes in focus, but you should really strive to get the whole head pin sharp.’<\/p>\n

There are ways to ensure that you get your subject completely in focus, says Andrew. \u2018The most obvious thing to do is to close down your aperture,’ he adds. \u2018If you’re working with f\/5.6, try closing it down to f\/8 or f\/11. However, that means you’re going to have to compensate for the reduced amount of light that is reaching your sensor. You could perhaps try using flash or introducing a second light source (including window light). If that isn’t an option, you will either have to increase your ISO (although this could result in noise) or you could decrease your shutter speed. These may sound like obvious things to say, but you’ll be surprised how many people neglect these basic technical principles.<\/p>\n

High-key lighting<\/h2>\n

\nA single light source is the most obvious starting point when shooting portrait photography, although Andrew says it can sometimes result in some unsatisfactory images.<\/p>\n

\u2018It\u2019s worth setting up a single light with no softbox or reflector and using it as a reference point that you can build from,\u2019 says Andrew. \u2018You\u2019ll see that the light is throwing a rather harsh shadow onto our background. It could be that this is the effect you\u2019re looking for, but at the same time it can also be an incredibly distracting element. It\u2019s a common error in images by people still trying work out the principles of portrait imagery, but we\u2019ll look at a way to fix that later.\u2019<\/p>\n

<\/img><\/div>\n
Photo by Maria Mil<\/em>\n<\/div>\n

Andrew says that a single light source is perhaps not the most flattering of set-ups, as the light can emphasise wrinkles and hair. \u2018Using a single light produces the kind of contrast-heavy light you\u2019ll use when you want to really explore the nooks and crannies of someone\u2019s appearance,\u2019 says Andrew. \u2018It\u2019s definitely not the kind of light you\u2019ll want to use if you\u2019re looking to flatter someone. However, as we\u2019ll see, it can be used brilliantly in low-key moody portraits when working with a dark background.\u2019<\/p>\n

<\/img><\/div>\n
Photo by Andrew Sydenham<\/em>\n<\/div>\n

If you\u2019re looking to create a flattering portrait, then the use of a softbox will give you the desired results. \u2018The softbox will diffuse the light and spread it out more evenly across your model,\u2019 says Andrew. \u2018Placing a reflector on the opposite side of the subject will then disperse the harsh shadows that we just discussed, yet still retain enough depth in your subject so it isn\u2019t completely flat.\u2019 <\/p>\n

Rather than using a softbox, readers may want to consider using an umbrella. \u2018A parabolic umbrella is a way of aiming light away from your subject and into a reflective umbrella that bounces the light back onto the subject,\u2019 says Andrew. \u2018As the light is reflected, it spreads over the subject and invariably softens the light. The key thing is that, because of the shape of the umbrella, it actually wraps the light around the subject.<\/p>\n

Reflectors<\/h2>\n
<\/img><\/div>\n
Photo by Andrew Sydenham<\/em>\n<\/div>\n

Andrew explains how to use reflectors to the best effect. \u2018The best way to establish a more balanced distribution of light is to use a reflector,\u2019 says Andrew. \u2018A white reflector will bounce light back into a subject, which will help to soften areas that would otherwise be quite dark, and act as a general fill light. Silver reflectors reflect more light back into your shot and are a lot cooler with regards to colour temperature,\u2019 adds Andrew. \u2018The effect will be a little more dramatic and give you stronger contrasts. Alternatively, a gold reflector will project warmth onto your subject.<\/p>\n

Three-Point Lighting<\/h2>\n
<\/img><\/div>\n
Photo by Colin Roberts<\/em>\n<\/div>\n

Andrew suggests that if anyone is looking to create a classic high-key shot they will need to introduce another light source. The method that Andrew is referring to is called three-point lighting, where three lamps (or in this case two lamps and a reflector) are employed to illuminate the subject.<\/p>\n

<\/img><\/div>\n
Photo by Maria Mil<\/em>\n<\/div>\n

\u2018You\u2019ll have three sources of light,\u2019 says Andrew, \u2018comprising a key light, a fill light and a back light (otherwise known as a rim light). The key light is the principal source of illumination and will shine directly on your subject. The fill light (our reflector) will balance the key light and fill in the darker parts of the subject. The back light will then shine on the subject from behind, helping to separate your model from the background and provide some definition. It\u2019s a classic set-up and one you\u2019ll no doubt use again if you decide to pursue portrait photography seriously. It\u2019s a very commercial way of working, but it\u2019s a simple method that can help you understand lighting.\u2019<\/p>\n

Snoots<\/h2>\n
<\/img><\/div>\n
Photo by Andrew Sydenham<\/em><\/div>\n
\u00a0<\/div>\n

On a final high-key note, Andrew gives a quick introduction to a handy little item called a snoot. \u2018A snoot is an attachment that can work in either high- or low-key images,\u2019 says Andrew.<\/p>\n

<\/img><\/div>\n
Photo by Andrew Sydenham<\/em>\n<\/div>\n

\u2018It\u2019s a conical-shaped object that attaches to the front of your light and narrows down the beam so that it lands on a concentrated area. Look at the image of the flowers and see how the light falls on the subject. If you want to illuminate just one area, such as the face, it\u2019s a great tool. It\u2019s also easy to make out of thick black card.\u2019<\/p>\n

Low-key Lighting<\/h2>\n
<\/img><\/div>\n
Photo by Chris Randle<\/em>\n<\/div>\n

Chiaroscuro lighting is a term that is more commonly applied to Renaissance and Baroque paintings. The style was used to introduce a sense of realism into paintings, by using the contrasts between light and dark tones to create a sense of depth. More recently, it is a technique that has found its way into the world of photography. Readers may be more familiar with the method under its less intimidating name of low-key lighting, a set-up generally shot against a black background.<\/p>\n

\u2018Low-key lighting deals with the contrasts between light and dark areas,\u2019 says Andrew. \u2018It\u2019s an expressive way of lighting your subject and is enormous fun to play around with. It\u2019s a look that we\u2019re used to seeing in classic film noir gangster movies, and is therefore seen as very cinematic. <\/p>\n

\u2018You\u2019re essentially using the same simple set-up that you did when you were working with the white background \u2013 namely, a single light source and a reflector,\u2019 continues Andrew. \u2018It\u2019s an excellent set-up to use when you\u2019re stuck with just one light source. The simplest way to achieve this look is to place your light directly to one side (around 2-3ft or 60-90cm away) and position your reflector on the opposite side. However, it may be that you want one side of the face to be completely enshrouded in shadow. If you do, remove the reflector and work with the single key light.\u2019 <\/p>\n

<\/img><\/div>\n
Photo by Andrew Sydenham<\/em>\n<\/div>\n

Low-key lighting is a method that demonstrates the idea of \u2018sculpting with light\u2019 perfectly. \u2018When you work with low-key lighting, you really begin to appreciate how you can use light to emphasise the depth of a subject,\u2019 says Andrew. \u2018A photograph is a two-dimensional medium, but using light can help us create the illusion of three dimensions. Taking the idea of sculpting somewhat literally, we can employ barn doors. Barn doors are used to control exactly where the light falls. You either open or close the doors to prevent the light falling onto any areas that you want to keep black. This can be easily replicated at home using some thick black card and taping it to the side of your light source.<\/p>\n

<\/img><\/div>\n
Photo by Andrew Sydenham<\/em>\n<\/div>\n

\u2018Low-key lighting is a look that naturally lends itself to monochrome,\u2019 says Andrew. \u2018It adds real atmosphere and mystery. When you take a low-key image it\u2019s worth seeing what it looks like in black & white. The high contrasts that you\u2019ll get from using a single light source are incredibly dramatic. When you import your file into Photoshop, go to Image>Adjustments>Channel Mixer and click the Monochrome box. You can then adjust the Levels accordingly.\u2019<\/p>\n

Working at home can carry the risk of ambient light coming in through a window, ruining an otherwise good low-key shot. But Andrew has a valuable tip. \u2018When you\u2019re working in a place surrounded by ambient light, it can be tricky getting the blacks completely black,\u2019 he says. \u2018The thing to remember is that you want to keep your ISO as low as possible as digital grain will really show up on a dark image. <\/p>\n

Before switching on your light source, set your camera to manual exposure mode and your f-stop to the widest aperture possible. You should then close the aperture down further and further (manual mode will ensure that you maintain the shutter speed that you intend to use for the shot) until any ambient light has disappeared, You\u2019ll be able to see if you have any light from the back of your preview screen (the screen will be black). Check your histogram \u2013 the graph of the histogram should be towards the left-hand side of the chart.<\/p>\n","protected":false},"excerpt":{"rendered":"

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