By William S McIntosh
ISBN-10: 1584281324
ISBN-13: 9781584281320
From a grasp photographer who has photographed different recognized photographers, Joint Chiefs of employees for the armed companies, and the Aristocracy within the uk, this booklet presents a behind-the-scenes examine the paintings of 1 of the main acclaimed portrait photographers ever. Photographers stick with McIntoshs footsteps, uncovering striking settings, unique consumers, and masterful strategy. They discover ways to create environmental photographs in tough destinations, regulate gentle to its most sensible influence, and compose and pose consumers. With the pairing of educational textual content and greater than a hundred pix that span McIntoshs profession, this ebook bargains a definitive examine the fashion, suggestions, and inventive contributions of this grasp photographer.
Read or Download Classic Portrait Photography: Techniques and Images from a Master Photographer (Masters Series (Buffalo, N.Y.)) PDF
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Additional resources for Classic Portrait Photography: Techniques and Images from a Master Photographer (Masters Series (Buffalo, N.Y.))
Sample text
I made a portrait of my subject that closely resembled the painting, but it did not turn out the way I envisioned, so I began to innovate and changed the pose. (SUBJECT—model; DATE—1998; CAMERA—Mamiya RB67; FILM—Fuji NPS, ISO 160; LENS—150mm soft focus) INFLUENCE OF THE VICTORIAN PAINTERS 37 ABOVE—The Somerley Country Estate, home of the Earl of Normanton, was photographed to show its beautiful rooms which are available for special conferences. Somerley predates the Victorian era, but its furnishings fit very well in the Victorian style.
Aaron had a great sense of humor and a personality that sparkled. He was in his mid-eighties at the time and mentioned that he was going dancing after the exhibit reception was over. Five strobes were used. The fill light was a 31-inch umbrella placed behind the camera. The rest of the lights were 7-inch silver reflectors with barn doors—one main light (45 degrees to the right of the camera), two skim lights (135 degrees to his right and left rear), and one background light (from the left rear).
With a 50mm lens on my Hasselblad camera, I moved him close to the camera so I was able to get light behind him. (SUBJECT—Alfred Eisenstaedt; DATE—1984; CAMERA—Hasselblad 500CM; FILM—Kodak Vericolor, ISO 160; LENS—50mm) FACING PAGE—Gordon Parks, a photojournalist, author, and movie director, could be called a modern Renaissance man. Gordon and I were selected to be featured on a TV special titled The Technique of the Masters for The Learning Channel. The series ran in 1989 and was sponsored by the Eastman Kodak Company.
Classic Portrait Photography: Techniques and Images from a Master Photographer (Masters Series (Buffalo, N.Y.)) by William S McIntosh
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