Presignify

There is a never ending quest for a ‘different’ look in the
portraits we take. One easy way to inject interest in a portrait
is to add a prop or two to the scene,. After a few years, you may have too many props adorning the walls, floor and ceiling and you may have to discard some and make new ones.

Some of my favorite props have been and 1890s tricycle, a 1910 iron and wood sleigh, a white wicker sleigh/bassinette and a couple of faux marble columns. The wicker sleigh made it easy to prop up wobbly babies and when leveled with foam and a blanket, supplied a nice base for tummy shots. Of course we couldn’t do without the ubiquitous baseball.

The marble columns came plain white plastic so I painted them to simulate real marble. First I prepared four buckets with white, light gray, darker gray and black water paint. Latex is fine. I placed the bare column on a large plastic sheet and quickly painted one side of the column with the white paint. A handy hose set at fine mist then wets down the
Wet paint. Applications of the light and dark gray latex and sprayed with water allows the colors to blend naturally. After all sides are completed, a feather dipped in black latex and drawn randomly along the surface supplies the final touch. A c oat of clear acrylic will protect the surface for many years.

For Communions, I cut a 30 inch circle out of heavy cardboard. Making an X from two rectangular pieces of cardboard, I stapled the circle on top, creating an instant round table. Cutting a piece of white Dacron for a table cloth that just reaches the ground results in beautiful natural folds. On top can be placed a bouquet of flowers, a candle, missal or white gloves and placed in the near background of the Communion picture.

One prop that has many uses is white nylon tulle. Used to cover flower arrangements, antique boxes or any accessories in the background, it imparts to these artifacts a smoky ethereal atmosphere. The lowered contrast and softening of detail allows more emphasis to be placed on the main subject while adding interest to the composition. The white tulle is especially effective on a near white background. Large amounts of tulle can represent clouds or water.

For a rustic look, several four foot weathered barn boards can make a country look background for children’s head shots. This easily made prop can be stored in a small area. A small section of white picket fence can be part of a beach scene or a Huckleberry country look. An eighteen inch long log with rough bark provides a handy place for young feet or to straddle. A taller log is handy for resting elbows and log sitting.

Try to use only one prop at a time and follow a central theme.

Retired portrait photographer. Where are your comments?

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When a new addition to the family arrives, the cameras pop out like weeds

in the garden. Unfortunately, most of the pictures, while enjoyed, never quite capture the cuteness of the new baby. Here are some tips to help you do the little darling justice.

First, let me advise you never to use a wide angle lens for a baby picture. The foreshortening of a 28mm focal length lens will be sure to (1) make the baby’s nose appear larger, (2) reduce the size of their ears to looking smaller and out of shape, and (3) probably cause an overexposure of the image due to the closeness of the flash to the subject. One the other hand, a short telephoto lens (100mm) will reproduce our angel’s features to a normal proportion, all of his (or her) different parts presented in the proper ratio. Even a small distortion of proportion has a definite (and detrimental) effect on the features.

While I’m not excluding taking pictures at night with a flash, I am recommending that you wait for daytime for that wonderful light coming from your window. Turn off the flash or cover it with two layers of white handkerchief. A setting of 200 ISO should be sufficient for a good exposure. The bottom pane is the one with the most photogenic light, so if you can, close off the upper part. Try raising the mattress in the crib so that you can see the baby without looking down. Soft light from the sky or light reflected off clouds produces a three dimensional rounded effect especially flattering to a baby’s face. If the room is furnished in dark colors, place a reflecting surface near the baby to fill in the shadow. Use a tripod or other support and shoot away.

Try different angles: a high angle looking down, a position on the opposite side of the crib (turn it around), or even through the bars. Avoid using the macro setting on a zoom lens, since this setting most often incorporates a wide angle focal length. Find the closest distance possible on your short telephoto lens (85mm - 120mm) and stand at that distance. A two diopter close-up attachment lens could halve this distance for super close-ups.

For twins, try to have one sit and one stand. The diagonals produced in the composition introduce a dynamic note to the picture. Important is to have all eyes pointing in the same direction. A squeeze toy helps.

Don’t forget the comic possibilities of baby photography. A cold piece of lettuce often produces a variety of quizzical expressions. A slice of lemon brings a riot of surprised and sour looks. A messy finale to a noon time meal is best enjoyed at a distance. Tickling feathers, air blown through a straw or a spray of water from a hidden source can supply an endless source of comical expressions. Before long, you’ll have them captured forever in pictures and in your hearts!

I like to write uplifting and fast moving stories.

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So a gorgeous yellow daisy mesmerises me, swaying elegantly in the light afternoon breeze, bathed in the warm light. Mmmm…emotions gently bubble to the surface, excitement foremost, followed by the deep satisfaction that I’ve been able to make time to return to this spot to revisit my yellow daisy. I’ve already shot her once…but…now another chance to create another feel, another image worthy of my wall.

As before I dispense with my tripod. An odd decision? Perhaps… but here’s my thinking on the subject. Firstly this is a decision which individual photographers need to make for themselves and secondly, and please understand this clearly, there are no rights or wrongs when the intent is artistic creation.

A tripod slows the process down (a good thing), it allows for greater reflection on composition and it creates the freedom necessary to style the shot without losing the angle of view one has chosen. It also has the added benefit of helping to steady the camera considerably so that camera shake is avoided. Actually in practise that bonus can rapidly become nullified - add a little spring zephyr to the mix and suddenly movement becomes an artistic must have, with or without the tripod!

Easing swiftly on to my preference…

Shooting fashion was my world for a number of years and even though I used a tripod a lot in the studio, more often than not on location I preferred to hand hold my monster of a medium format camera (GX680). Luckily it has an autowind so cranking to the next frame wasn’t a bore, but the freedom to be able to approach all shots by circling the subject to see how the world looked from that perspective was hugely stimulating. Good stuff! And oddly now that I’m shooting my mostly inanimate gorgeous yellow daisy and the like, I feel incredibly fettered when using a tripod. Don’t ever let anyone dictate that there is only one proper way (ironically almost always their way - strange…). Discipline is in your approach and consistency of approach rather than just the tools.

There is another factor in the mix - DIGITAL…A little rant last time, a repeat now…Freedom! To me digital spells freedom - access, creativity, lack of stress about mundane matters like money i.e. cost per frame “wasted”. If you like to shoot a lot of each view as I do, this would get prohibitive real quick on film. I urge you as a budding or even a relatively experienced photographer to shoot lots - life is too short to stuff a mushroom (if you get that you get my point), and shoot at the highest res possible. I cringe at sad sack stories of the one that got away.

Be disciplined, shoot smart. Make yourself a checklist, mental or written, of things to check and use it every time you go out to shoot. It’s the little things…you try explaining to a client that you forgot the charged batteries at the studio or even worse, a whispered aside to assistant “Herm where’s the film?” And then even worse the reply “I thought you packed it….” Checklists rule okay!

So to the gorgeous yellow number…Another decision, another choice. Shoot the natural view or create an instant outdoor studio background with flags, fills and scrim. Me, I like the control of creating my own environment as far as possible. I like the deep orange fuzzy card in the background with my model languishing, exotically garbed in yellow organza, in the foreground. Daisy perfection!

Now for some forward planning…don’t ever restrict your ability to shoot by not planning ahead. Take a few extras with you…

I grabbed a series of different colored cards before I left, A4 sheets as the work is close and my subjects mostly small, and I cut a slit down the vertical centre line to 1/3 into the page, then carved out a small round hole (a keyhole in effect),a perfect fit around the stem of most flowers, without doing any real damage. Don’t worry about the slit, Photoshop will clean that up! For the purists out there sorry if that’s cheating in your book, but hey if you’ve got it, use it, is my feeling.

I also stuck a bit of foil, white card and black card in for good measure. A tiny mobile studio - flag and fill! Do it properly if you’re going to do it at all. The foil can be well used to create pattern or glitter on an otherwise dull surface, the white card to fill in the shadow areas and the black card to define edges on white/light subjects. On really bright, sunny days it’s worth adding a sheet of scrim to the mix to soften the light over the subject. Diffuse light created by a cloudy day or by a decent piece of scrim is so much easier to work with - color saturation is deep and satisfying without huge loss in shadows or highlights. Be prepared!

BUT…

Do not rule out the harsh directness of full-on sun. It can be awesome to work in direct sun - huge drama, brilliant glitter. Give yourself a break - luxuriate in choice. Never loose site of the point…GET THE SHOT…the shot that’s beautiful enough to grace the wall…any wall!

See the beauty!

Copyright 2005 Patrick Heathcock

Sometime commercial photographer London, fulltime flower art photographer and web designer living in the southern semisphere, soaking up the sun. Visit A Flower Gallery to view the yellow daisy and more!

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