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Wednesday

FLASH PHOTOGRAPHY 101 - A BEGINNER’S GUIDE • 3 of 4

A SYSTEMATIC APPROACH TO BOUNCED FLASH

Continuing with our four part series by Canon Forums, today we will be discussing the technique of "bouncing flash." While flash photography is complex enough that no single strategy works in every situation, the following approach has worked well for Mark Jordan Photography for over 31 year, and will work for you as well. We do make the assumption that you'll be bouncing you flash under fairly normal conditions, which we understand to be relatively small rooms (with typical low, white ceilings) such as is found in home settings, classrooms and offices.

Why Use Flash?
Simply put, adding light to indoor settings will allow you to use a faster shutter speed (less motion blur), a smaller aperture (more depth-of-field), and a lower ISO setting (less digital noise) than you could use with ambient light only. The focus-assist light on your flash unit will also help with focusing when needed.

Why Bounce the Flash?

We are accustomed to overhead lighting, so the shadows produced by light bouncing down from the ceiling will seem more natural looking. When the light from the flash hits the ceiling, it reflects down in all directions, illuminating the entire room. This creates a larger effective light source and produces more even lighting, softer shadows, and brighter backgrounds. When properly used, bounced flash will help to create images that don’t look “flashed” at all. Finally, bouncing will eliminate the redeye problems associated with direct flash.

Color Temperature Issues
Flash units produce a color temperature that resembles daylight. Incandescent (tungsten) lights have a much lower color temperature, and fluorescent lights have a higher color temperature along with other issues. Since most flash units have enough power to completely illuminate small rooms, my general recommendation is to reduce the amount of ambient light as much as possible by setting the shutter at flash sync speed (1/200 or 1/250 on today’s Canon DSLRs). This will make your flash the only significant light source, eliminating the problems caused by having multiple light sources at varying color temperatures.

Aperture Setting
You want an aperture setting that gives you sufficient depth-of-field, but don’t go overboard here. Smaller apertures (higher f/ numbers) will require a higher ISO setting to get sufficient illumination. DOF is a fairly complex concept, but generally speaking for indoor shots of people, f/4 should be enough for a single subject, and f/8 should work for most small groups. These are very general guidelines and the “best” aperture setting depends largely on your artistic goals.

ISO Setting
Now that we have the shutter speed and aperture determined, ISO is the last part of the equation to figure out. Since higher ISO settings tend to produce more digital noise, the trick is to set it high enough to get sufficient light without going higher than necessary. This sometimes requires a bit of trial-and-error, but ISO 400 is usually a good starting point.

Test - Chimp - Adjust
It’s often difficult to predict what aperture and ISO settings will be required to get proper illumination with bounced flash, so testing is always a good idea. With your camera in “M” mode and set according to the instructions above, and the flash unit in E-TTL mode, take a few shots of someone on the other end of the room. Immediately after each shot, look for the flash exposure confirmation lamp (FCL), near the pilot light on the back of the flash unit (on Sigma units, the “ETTL” indicator on the LCD will blink for 5 seconds). This indicates that the flash had enough power to create what it “thinks” is a correct exposure.

If the FCL doesn’t light, it means it didn’t have enough power for proper exposure with the settings you chose. You need either a wider aperture (lower f/ number) or a higher ISO setting. Adjust accordingly and test again.

If the FCL lights, take a look at your histogram to determine if the shot is properly exposed. If the image is too dark, dial in some +FEC (flash exposure compensation). The need for +FEC is normal with bounced flash and E-TTL flash metering. After adjusting the FEC, test, chimp, and adjust again as needed. More info on how to read a histogram here.

Once you have made these adjustments, you should be ready to make properly exposed images with bounced flash. But remember to check your FCL and histogram often! Many factors, including white clothing, windows, and changing backgrounds can “fool” the flash metering and require adjustments as you go.

Below is my usual configuration for bounced flash. Here are a few other points to remember.

Point the flash straight at whatever you want to bounce off. That means straight up for ceiling bounce. Avoid the 45 degree angle technique. This will tend to light only part of your subject directly and create the "hot spot" on the ceiling directly above your subject. Light from directly above is rarely flattering.
A 3 x 5 index card attached to your flash head as shown will create catchlights in eyes and provide a bit of direct illumination to fill in shadows.
Zooming the flash head to its widest setting will illuminate a larger area of the ceiling (creating a larger effective light source) and throw more light on the card.
Ceilings aren't the only surfaces you can bounce off of. A light colored wall beside or behind you can work too!

Part 1

Part 2
Part 4

Mark

©Photosical - the photographic and philosophical observations of Orange County Photographer, Mark Jordan

Mark Jordan Photography
Orange County Family Portrait
Orange County Beach Portrait
Orange County Senior Portrait
Orange County Children Portraits
Orange County Headshot
Belly Art Photography
Wordle™ Puzzles

Orange County Photographer, Mark Jordan Photography, an Rancho Santa Margarita Photographer, specializes in crafting stunning contemporary, traditional, classic, and storytelling family portraits (high school seniors, children portraits, babies, maternity, pregnancy), headshots and pets. Mark Jordan, a Photography Hall of Fame photographer (with a Rancho Santa Margarita portrait studio), and provides portrait photography throughout Orange County and Southern California. Mark Jordan's Orange County portrait studio also serves San Diego County and Inland Empire. Studio Photography Services are also provided in Riverside County and Los Angeles County. Local Cites where Mark Jordan photography studio services are offered are as an Aliso Viejo Photographer, Anaheim Photographer, Costa Mesa Photographer, Coto de Caza Photographer, Dana Point Photographer, Dove Canyon Photographer, Huntington Beach Photographer, Irvine Photographer, Ladera Ranch Photographer, Laguna Beach Photographer, Laguna Hills Photographer, Laguna Niguel Photographer, Lake Forest Photographer, Mission Viejo Photographer, Newport Beach Photographer, Northwood Photographer, Orange Photographer, Orange Park Acres Photographer, San Clemente Photographer, San Juan Capistrano Photographer, Santa Ana Photographer, Tustin Photographer, Villa Park Photographer, Westminster Photographer, Yorba Linda Photographer, Corona del Mar Photographer, Riverside Photographer, Temecula Photographer, Chino Hills Photographer, Loma Linda Photographer, Rancho Bernardo Photographer, Carlsbad Photographer, Coronado Photographer, Del Mar Photographer, Escondido Photographer, San Diego Photographer, San Marcos Photographer, Solana Beach Photographer, Carmel Mountain Ranch Photographer, Rancho San Diego Photographer, Rancho Santa Fe Photographer, and San Diego Country Estates Photographer, Turtle Rock Photographer, Shady Canyon Photographer. Portrait Photographers everywhere (photographers in O.C. as well) are welcome to contact our portrait studio for mentoring/guidance.

Tuesday

FLASH PHOTOGRAPHY 101 - A BEGINNER’S GUIDE • 2 of 4

Canon Speediites

(WHY) SHOULD I GET A SPEEDLITE FOR MY CAMERA?

A BEGINNER’S GUIDE

Many cameras, including some fairly expensive DSLRs, have a built-in (pop-up) flash unit, as well as a hotshoe for an attached flash unit. Beginners often call us here at Mark Jordan Photography and ask why or if they should buy a separate flash attachment - our tutorial today is designed to specifically answer this question.

Please forgive me for not offering any photographic samples below. The Canon Forum I am adapting this from did not provide any examples, and as much as I would love to, I am exceedingly busy creating family portraits in Orange County and didn't want to allow my hectic schedule to postpone the posting of this important information of flash photography. With that said, we are ready to move ahead.

REASON #1: REDEYE

We’ve all seen pictures of people whose eyes have that diabolical red glow. It can ruin an otherwise very good shot. It is caused by light reflecting off the retina in the back of the eye. This phenomenon is worst when the subject’s pupils are dilated (indoors), and when there is a narrow angle between the light source (flash), eye, and lens. Geometrically, the two factors which affect this angle are the distance between the flash and the lens, and the distance between the camera and the subject’s eyes.

One way to avoid this problem is to move the flash further from the lens. The more distance there is between the flash and the lens, the further away the camera can be from human subjects without causing red eyes. Typically, a hotshoe-mounted flash unit will be twice as far from the lens as a “pop-up” unit. A flash bracket can be utilized to make this distance even greater.

REASON #2: POWER

The effective distance of any flash is dependent upon the aperture and ISO setting used. For example, at f/8 and ISO 100, the built-in flash on today’s DSLRs will be effective only if your subject is within about 5 feet of the camera. Of course, you can increase this range by opening up the lens and/or using a higher ISO setting, but that comes at a cost - less depth-of-field and more digital noise.

A good flash unit has about fifteen times the power of a built-in unit, with perhaps four times the effective distance. This allows the use of smaller apertures (for better depth-of-field) and lower ISO settings (to reduce digital noise). Power is also critical for bounced flash and fill flash in sunny conditions.

REASON #3: BOUNCED FLASH

The ability to point the flash at a wall or ceiling will do more for the quality of flash photographs than just about anything else. It can mean the difference between a harsh-looking “snapshot” and a pleasing photograph that doesn’t even look “flashed”. Illuminating the ceiling has the effect of making the light source much larger, creating softer shadows, a brighter background, and more natural-looking results.

The power required for this technique varies widely according to the height and color of the ceiling and other factors, but even with a low, white ceiling it can require as much as four times the power of direct flash. With direct flash, you’re lighting up your subject. With bounced flash, you’re lighting up the whole room!

REASON #4: FLASH MODIFIERS

There are a wide range of “diffusers” and other attachments which somehow modify the direction of some or all of the photons flying out of the flash unit. They can be as simple as a 3 x 5 index card and rubber band.

Other attachments include the Lumiquest Promax System, mini softboxes, the Sto-Fen Omni-bounce, and the Lightsphere II. They all work a little differently and they each have their place. Generally they are designed to make the light source larger from the subject’s perspective, or to provide some direct illumination with bounced flash.

Another completely different modifier is the Better Beamer, which creates a powerful, narrow beam for long-distance wildlife shooting. When used properly, flash modifiers can dramatically improve flash photographs, but you need a flash unit to use them.

REASON #5: FLASH BRACKETS

Flash brackets come in a variety of styles and serve a dual purpose. In addition to moving the flash unit further from the lens (see reason #1), they also allow the camera to be rotated to vertical orientation while keeping the flash above the lens. This prevents those ugly side shadows on backgrounds which otherwise ruin vertical shots when using a hotshoe-mounted flash indoors.

Some styles work by flipping the flash unit, keeping it oriented the same way as the camera. These allow the flash to be zoomed with the lens to avoid wasting light (and power) with direct flash.

Other styles allow the camera to rotate while the flash remains over the camera. These make it easier to change orientation while mounted on a tripod, and they work better with some flash modifiers such as the Lumiquest Promax System. Use of a flash bracket requires a sync cord to electrically connect the flash to the camera.

REASON #6: BELLS and WHISTLES

Most good flash units have additional features not available with the built-in. They include:

a focus assist light - This light casts a pattern of lines on your subject to allow the autofocus system to work better in low light situations.
FP Flash (high speed sync) – This enables the use of high shutter speeds. If you’re using fill flash outdoors and want to use a wide aperture to blur the background, FP Flash is a necessity.
manual mode – This allows you to set and adjust the flash unit’s power, rather than relying on automatic flash metering, and also enables the use of optical slaves. It’s more of an advanced option, but sooner or later you’ll find it useful.
wireless E-TTL – Allows the use of multiple flash units at various power ratios in a master/slave arrangement with E-TTL flash metering.

To summarize, today’s Digital SLRs are packed with amazing technology, and with the right lenses they can produce wonderful images. But the built-in flash units on these cameras are lacking in power, too close to the lens, can’t be tilted for bounce flash and can’t be used with flash modifiers. In short, they rarely produce anything better than “snapshot” quality. Their usefulness is so limited that high-end professional camera bodies don’t even have a built-in flash.

My recommendation to people who buy a DSLR is to buy a good flash unit for it as soon as funds allow. While there are many types of photography that don’t require flash, most beginners photograph people more than any other subject. Flash can improve just about any “people” shot, whether indoors or outdoors. Before you buy another lens, before you get that fancy tripod or any other accessory, buy a great speedlite!

Not sure which one to buy? Take a look at Tim's thread: Which flash should I get for my EOS camera?

Part 1

Part 3

Part 4

Mark

©Photosical - the photographic and philosophical observations of Orange County Photographer, Mark Jordan

Monday

FLASH PHOTOGRAPHY 101 - A BEGINNER’S GUIDE • 1 of 4

580EX "Speedlite" by Canon

FLASH PHOTOGRAPHY 101

A BEGINNER’S GUIDE

INTRODUCTION

At Mark Jordan Photography, we primarily employ Speedlites as a "fill light" while allowing the ambiant light to capture your family portrait. Our portraits use just enough fill to add a touch of sparkle to the eyes and teeth, as well as lighten the depth of shadow. Should you like to see examples of our Orange County family portraits, drop by our website, Mark Jordan Photography, take a look around and contact us if you like.

Though there are thousands of photographers in Orange County, Mark Jordan Photography has been specializing in family portraits, headshots, senior portraits and children since 1981 - we are more enthused today than when we first begun. The new Speedlites have have been a godsend, and are instrumental to our success in family photography.

FLASH PHOTOGRAPHY IS EASY ONCE YOUR UP TO SPEED
If you find using flash to be a frustrating experience, have no fears. For most beginning photographers, mastering flash photography is considerably more complicated than ambient light photography. However, when you come to understand the intricacies of Speedlites and what occurs during flash (just a few milliseconds after you press the shutter button), you'll be well on your way to taking consistent flash photographs, AND with predictable results.

Before we begin, you should be aware that just about all the information provided below, as well as in the following three parts, is thoroughly covered in The EOS Flash Bible. The EOS Flash Bible document, however, is both comprehensive and long. Thus, I thought this short guide might not only be more beneficial but serve you down the road as a reference source.

Now then, let's begin.

THE BASICS
Before you venture into the world of flash photography you first need to understand the basics of exposure. Our guide makes the assumption that you're knowledgable of how shutter speed affects exposure and crispness/motion blur, how aperture affects exposure and depth-of-field, and how the ISO setting affects exposure and digital noise. If you not yet up to speed and possess a working grasp of these essential concepts, you would do best to put aside this guide for a spell, and first master the basics of your camera before venturing off into the depths of flash photography.

PART 1

FACTS THAT EVERY FLASH SHOOTER MUST UNDERSTAND

Whether you’re using the camera’s built-in flash, a hotshoe-mounted flash unit, or studio strobes, the first four facts are universal and pertinent to all of them.

Flash Fact 1

Every flash photograph is two exposures in one – an ambient light exposure and a flash exposure. This is a critical fact to remember. The shutter opens, the flash fires, the shutter closes. During this time, both ambient light and flash will contribute to the recorded image. Flash photography requires managing both exposures.

Flash Fact 2*
Flash exposure is not affected by shutter speed. The entire burst of light from the flash begins and ends while the shutter is open, so keeping the shutter open longer won’t help with flash illumination. The flash exposure and the effective range of your flash unit will be affected by aperture and ISO settings, but not the shutter. Of course, the ambient light component in a flash photograph is affected by shutter speed. So changing the shutter speed is one way to manage the amount of ambient light that contributes to a flash photograph.

Flash Fact 3
Flash illumination is dramatically affected by distance. This is known as the inverse square law. Think of it this way: Suppose you’re using a lens that gives you a 4 x 6 ft. field of view at a distance of 10 feet. That same lens will give an 8 x 12 ft. field of view at a distance of 20 feet.

So when you double the distance, the same light is covering an area four times larger (96 square feet vs. 24 square feet)! So you need four times as much light to get the same illumination. This phenomenon, sometimes referred to as flash falloff, will affect any image with more than one subject at different distances.

Whenever your subject distance increases by a factor of roughly 1.4 (the square root of 2), the flash illumination will be cut in half. Suppose you’re taking a large group portrait. The people in the first row are 10 feet away, and the people in the back row are 14 feet away. With on-camera flash as the primary light source, the front row will be a full stop brighter than the back row!

In the image below, each cup is one stop brighter than the one behind it, and one stop darker than the one in front of it. It would take 16 times as much light to properly expose the cup at 11 feet verses the cup at 2.8 feet. Do those distance numbers look familar? They're the same as standard f/ stops for aperture settings, and the relationship is identical. This thread from PhotosGuy gives an example of how to use this relationship in the field.

Photo Courtesy of PhotosGuy

Flash Fact 4
Your camera measures ambient light and flash illumination separately. In Av, Tv or P modes, it will attempt to expose properly for the ambient light by adjusting either the shutter speed, aperture, or both. The fact that you have your flash turned on has no effect on this** ( one exception is that in P mode it will not use a shutter speed slower than 1/60 with flash). The camera’s metering system cannot predict how much illumination will be gained by the flash, so it doesn’t try. In manual mode, the meter in the viewfinder measures only ambient light, because that’s all it has to measure.
Fact 5 refers to any form of automatic flash metering, including older “auto thyristor” flash units, TTL film cameras, and E-TTL or E-TTL II digital cameras.

Flash Fact 5
With automatic flash metering, the flash illumination is measured after the shutter button is pressed, and the flash output is adjusted accordingly. There are technical differences between the various types of flash metering, but all of them operate independently from the camera’s metering of ambient light, and all of them work by adjusting the output of the flash, not by changing the camera’s exposure settings.

Facts 6 and 7 apply to any camera with a focal plane shutter (all SLR cameras with a mechanical shutter).

Flash Fact 6*
Every SLR camera with a mechanical shutter has a maximum flash sync shutter speed (1/200 or 1/250 on current Canon DSLRs). This has to do with the way focal plane shutters work. At slower shutter speeds, the first curtain opens, the flash fires, and after the specified time duration, the second curtain closes behind it. At shutter speeds faster than flash sync, the second curtain begins to close before the first curtain is completely open. The second curtain follows the first across the frame, exposing only a slice of the image at any given moment. Firing a flash during this process would illuminate only part of the image.

Flash Fact 7* [Applicable to modern electronic cameras only]
If you set your shutter speed faster than flash sync, or use Av mode with an aperture setting that requires a shutter speed faster than flash sync for proper exposure, the camera will automatically revert to flash sync speed when the shot is taken if a built-in or hotshoe-mounted flash is turned on. Usually this results in overexposure (unless you have a “safety shift” custom function enabled). If you’re getting overexposed images when using flash outdoors, this is probably the reason. The image is not overexposed because of light from the flash. It’s overexposed from ambient light because the shutter speed was too slow. If you’re using flash for fill in bright situations, it’s necessary to stop down the aperture or lower the ISO setting to get the shutter speed below flash sync.

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* The exception to facts 2, 6 and 7 is FP Flash, sometimes referred to as “high-speed sync.” That topic is covered in Part 4.

**With some Canon cameras there is a poorly-documented phenomenon called NEVEC (negative evaluative exposure compensation) which will adjust the ambient exposure by up to a full stop when the flash is turned on, but that’s also a topic for another chapter.

Part 2
Part 3
Part 4

Mark

©Photosical - the photographic and philosophical observations of Orange County Photographer, Mark Jordan

Thursday

How to Prepare for a Portrait - Sum & Substance: Part 4 of 4

SUM & SUBSTANCE

JEWELRY
• SIMPLE
• Simple earrings are preferred. Large dangling ones do not photograph well as they will never stay put...
• Necklaces look best when they are simple and not bulky. Avoid ones that will neither hang behind or atop your blouse. Also avoid necklaces that spin around easily. Know where you want it be and make sure it stays there. It is very disappointing to see your necklace half in/out with the backside your pendant sparkling. It is also time consuming to remedy in artwork.
• In general, most watches are fine. Keep big, bulky ones at home, unless you wish your watch to be a focal point in the portrait. If you have a “white spot” on your wrist, apply a dab of makeup to lessen the contrast (we could also opt to place it so it will not be seen by the camera or take care of it in post-production).

GLASSES
• Glasses not only catch light reflection but they also distort contour facial lines. Artwork to remove minor glass glare is included in the price of your portrait but major glass glare and restoring facial features is not. The fee varies depending on the extent of artwork required and will require a quote. Though we do provide this service at cost, it can become expensive, especially when considering it is something that can be avoided with a modicum of preparation.
• If you wear glasses, and wish to avoid glass glare/reflections and facial distortion, there are three dependable, clear-cut options:
     1. have your optician supply you with empty rims for the day
         of your appointment
     2. pop the lenses prior to your portrait (be sure to bring a
         secondary pair...)
     3. wear only non-glare lenses (doing so will lessen glare but
         do nothing to mitigate distortion of contour facial lines)
• Transition lenses can be especially troublesome and should be avoided.
• Contact lenses may be worn and generally pose no challenge.

Extraordinarily Beautiful Family - Family Portrait at Coto de Caza, CA

AVOID

• AVOID Perfectly MATCHING the Colors and Design of Clothing. Loosen up you perfectionists (Oh, that’s me!).

• AVOID busy PATTERNS.

• AVOID BEING “CREATIVE” with colors and patterns (wear only thematic colors).

• AVOID STIFF fabrics and materials that wrinkle easily. If your clothing requires heavy ironing, it’s probably the wrong piece to wear. If you’ve slept in it and it still looks fresh - bull’s-eye!

• AVOID TIGHT fitting clothing. Soft, flowing lines are aesthetically more pleasing. Loose fitting clothing (not baggy) also serve to create a more svelte appearance.

• AVOID WHITE & LIGHT if there are weight concerns. Be especially attentive to pants unless expanding your “foundation” by 10-20 pounds is your objective.

• AVOID LOOKING AROUND during the portrait session. Your children and shoes aren’t going anywhere unless you are. Besides, the top of your head is not usually very attractive. The best place to land your gaze is at the center of the lens.

• AVOID feeling the pressure to purchase expensive clothing to keep in line with the color theme. If you must purchase something, it does not need to be costly. The camera cannot perceive value. The reality of the most elaborately designed sets in Hollywood movies would not even impress Homer Simpson. QUALITY cannot be detected. The only element that matters is the harmony of the colors and the matching of the fabric’s characteristics.

• AVOID being late for your portrait session. Having to RUSH or feeling RUSHED is not a comfortable way to have your portrait created. Not to mention the sun is adverse to altering its schedule to meet yours. Late appointments are subject to an additional Session/Location fee.

DOs

• DO dress COMFORTABLY.

• DO bring along anything to your portrait you might need: grooming gear, water, medications, makeup, snack, our cell numbers, backups...

• DO keep within THEME COLORS ONLY.

• DO wear DARKER SHADES of theme colors if you desire to appear more svelte.

• DO come to the session with a POSITIVE, HAPPY HEART. Your cheerful attitude will be reflected for all to see for generations to come. The hard work is all behind you. Relax - enjoy yourself.

• DO keep your eyes on the camera through the entire session. You will be tempted to look around and check out how others are doing. RESIST! The temptation will be more difficult than you think. It will be like having an itch you can’t scratch. Be strong - you CAN do it!

• DO SPEAK UP if you are uncomfortable or have any concern. No question is too small. I will not be responsible for numb limbs.

• DO remember that if everyone is on the ball, the portrait session will only take about 20 minutes. That’s it. A very small price to pay for such a cherished reward.

• DO be ON TIME for your portrait session. You will want to take advantage of every minute set aside to create your portrait. You may even want to consider arriving a bit early, just to make sure all goes well.

• DO keep things SIMPLE.

Part 1 - Introduction
Part 2 - What To Wear Essentials

Part 3 - Foundation Up

Mark

Mark Jordan Photography specializes in crafting stunning contemporary, traditional, classic, and storytelling family portraits (high school seniors, children portraits, babies, maternity, pregnancy), headshots and pets. Mark Jordan, a Photography Hall of Fame photographer in Rancho Santa Margarita and provides portrait photography throughout Orange County. The portrait studio also serves San Diego County and Inland Empire. Studio Photography Services are also provided in Riverside County and Los Angeles County. Local Cites where photography studio services are offered are in Aliso Viejo, Anaheim, Brea, Costa Mesa, Coto de Caza, Cypress, Dana Point, Dove Canyon, Fountain Valley, Huntington Beach, Irvine, Ladera Ranch, Laguna Beach, Laguna Hills, Laguna Niguel, Laguna Woods, Lake Forest, Mission Viejo, Newport Beach, Northwood, Orange, Orange Park Acres, San Clemente, San Juan Capistrano, Santa Ana, Tustin, Villa Park, Westminster, Yorba Linda, Corona del Mar, Murrieta, Murrieta Hot Springs, Quail Valley, Riverside, Temecula, Winchester, Chino Hills, Fontana, Grand Terrace, Loma Linda, Montclair, Rancho Bernardo, Carlsbad, Coronado, Del Mar, Escondido, La Mesa, Oceanside, San Diego, San Marcos, Solana Beach, Vista, Carmel Mountain Ranch, Rancho San Diego, Rancho Santa Fe, and San Diego Country Estates, Turtle Rock, Shady Canyon. Portrait Photographers everywhere (photographers in O.C. as well) are welcome to contact our portrait studio for mentoring/guidance.

Mark Jordan Photography

Orange County Family Portrait

Orange County Beach Portrait

Orange County Senior Portrait

Orange County Children Portraits

Orange County Headshot

Belly Art Photography

Wordle™ Puzzles

Wednesday

How To Prepare For A Portait - Foundation Up: Part 3 of 4

Foundation Up

FOUNDATION

• We refer to the Pants and Skirt/Dress areas of your portrait as its Foundation. As the word implies, the foundation is the basis upon which we build your portrait.

In particular, the fabric selections and color harmony of your garments are the groundwork upon which the success of your portrait is laid. Optimally, like the footing of any building, the foundation will be solid, sturdy and flawless. Yet, for all our efforts and attention to detail, we do not want the foundation of your portrait to command attention or take away from the real attraction: the highlighted faces in your portrait. Therefore, simplicity is vital.

• Please remember, our goal in coordinating clothing is to achieve color harmony - not matching. Generally speaking, we do not want the garments to match perfectly, though it is preferable for the foundation to be relatively close in color and design. Therefore, we suggest you give more attention to harmonizing color over matching.

EXAMPLE
Should you choose to wear denim, and you discover one pair is a different shade of blue (or lighter/darker) than the others, this is desirable. A khaki pant may be a different cut or hue than all the others - but again, this is preferable. The more 'natural' variety you include, the more "natural," and subsequently more believable, your portrait.

• There are two occasions, however, where it might be best to have foundational colors match: when the chosen foundation is either white or black. In such an instance, you may opt to have every pant/dress to be all white or all black.

• Dress length is not to be overlooked; a short dress, standing, becomes a mini skirt, sitting. Portraits look best when bare knees do not show (unless your portrait is at the beach where shorts are acceptable).

• It is acceptable to combine pants and dresses in a portrait. However, I suggest that only females wear the dresses.

• As a rule of thumb, we suggest avoiding patterns in both pants and skirts/dresses. There are always exceptions but be very careful when opting to do so.

SHIRTS & TOPS
• Garments with NO PATTERNS tend to work best. Remember, we want the viewer's gaze to be drawn to faces, not a clutter of busy patterns. If necessary, a VERY subdued pattern is acceptable, and if it blends well with the thematic colors.

• LONGER SLEEVES always work best. Sleeves with a 3/4 length or longer (covering the elbow) prove to be the most flattering. Any sleeve length shorter than 3/4 has the tendency to diminish the visual impact on the face by drawing the viewer’s eye toward the elbow, upper arms and shoulders. This also tends to add visual weight.

• VESTS, SCARFS, and SWEATERS are fine. Keep them simple. If patterned, keep them subdued and incorporate colors in harmony with your basic theme.

• Keep fabrics SOFT and flowing.

• Collar variety is a little known design technique we suggest you take advantage of - it adds interest and keeps garments from looking too "cloned." Any type of collar is fine. However, avoid excessively high collars (unless you desire to be confused with an Elvis impersonator). Also avoid excessively low necklines (I'll allow your imagination to draw its own conclusions).

Family Portait at Newport Beach Home

SOCK • FOOTWEAR • BELTS

• Footwear must be in KEY with portrait clothing and background. For Park Portraits, any DARK color shoe will do. Brown, Navy and Black works best. Sandals and flip-flops are also standard fare. For beach portraits, however, barefoot is the only way to go!

• Please do your utmost to select footwear with either no design or a plain one. That is, avoid footwear with patterns, reflectors, and color accents (typically gym-shoes) which draw the viewer's attention toward the feet.

• As to Socks & Belts, if not managed properly, they too will draw the viewer’s eyes away from the faces and direct them toward the feet/ankles and waist. Understandably, this small area is where many a portrait can go awry, in a hurry. People often think they "know better" or they are the exception. They reason that their OFF KEY socks, flats or belt will be much too insignificant to been seen. WRONG! ANY color in these areas that is NOT in KEY with the other thematic colors will be as shocking as lightening in the night sky. Enough said.

MAKEUP
• Makeup that is SIMPLE and appropriate to your lifestyle always yields the most flattering look. In general, colors should not be too dark (especially around the eyes) or too dazzling.

• All women need some level of makeup or they will appear flat, dull and lifeless. Men, you are excused - no makeup required. I know it's not fair, but that's just the way it is.
As a rule, if you wear…
    - no makeup - apply a medium application.
    - light to medium application - I suggest you apply evening to slightly
      heavy makeup.
    - heavy makeup - Lady Gaga might be a good prototype, but maybe
a tad overstated.