Classic Portrait Photography Techniques and Images from a Master Photographer.pdf

Classic Portrait

Photography

TECHNIQUES AND IMAGES FROM A MASTER PHOTOGRAPHER

William S. McIntosh

Amherst Media ®

PUBLISHER OF PHOTOGRAPHY BOOKS

On the Cover

The concept for this portrait of JoAnn Falletta was to get the entire audience (over 2000 people) in focus in the back-

ground and JoAnn conducting in the foreground. Because this portrait would have been very difficult to make during a

concert, JoAnn was photographed in rehearsal the morning of the concert. The audience was then photographed just

before the curtain rose at 8pm for the concert. They were informed that I had photographed JoAnn that morning and the

finished result would be a one-of- a-kind image of JoAnn conducting and the audience included in the finished portrait.

Fuji NPH 400 film was just the film to meet the challenge of lighting the people in the audience so that you could

see most of their faces in a 30x40-inch portrait while keeping them subdued enough that they would not overwhelm the

conductor. The film allowed me to make my exposure at f-11, which was just right to get the depth of field needed. The

soft contrast of the film allowed me to get more detail in the very dark areas of the symphony hall and the audience.

Had I used Fuji NPS 160 film, I would have needed much more light; with Fuji NPZ 800 film, I could have made the por-

trait in the same light, but the contrast would have been higher.

Digital retouching artist Patricia Van Becelaere accomplished an awesome task on this portrait. There were a num-

ber of empty seats in the hall, so Patricia moved people that could not be seen behind the conductor and filled the

empty seats with them. Some of the people close to the lights were a little light and some in the back were a little dark.

I exposed for the dark areas and Patricia evened out the tones to the depth I needed, showing off the conductor and the

audience at their best. Patricia Van Becelaere can be reached at pvan@kc.rr.com.

( SUBJECT —JoAnn Falletta, Conductor and Music Director of the Virginia Symphony and the Buffalo Philharmonic

Orchestra; DATE —2002; CAMERA —Mamiya RZ67; FILM — Fuji NPZ, ISO 800 [on JoAnn] and Fuji NPH 400 [on audi-

ence]; LENS —140mm [on JoAnn] and 50mm [on audience])

Published by:

Amherst Media, Inc.

P.O. Box 586

Buffalo, N.Y. 14226

Fax: 716-874-4508

www.AmherstMedia.com

Publisher: Craig Alesse

Senior Editor/Production Manager: Michelle Perkins

Assistant Editor: Barbara A. Lynch-Johnt

ISBN: 1-58428-132-4

Library of Congress Card Catalog Number: 2003112488

Printed in Korea.

10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic,

mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions.

The author and publisher will not be held liable for the use or misuse of the information in this book.

DEDICATION

This book is dedicated to my daughter Leslie McIntosh Bullerjahn and my son-in-law Harald

Bullerjahn. Leslie and Harald joined my 53 year-old portrait studio four years ago to help

carry the McIntosh tradition into the 21st century. Their work has been outstanding, and

there is no doubt that McIntosh Portraits will be around for many years to come.

TABLE OF CONTENTS

Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .5

Introduction

Classic Portraiture: Always in Style

by Peter Skinner . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .7

1. What Is a Classic Portrait? . . . . . . . . . . . . . . . . . . . . . . . . . .10

2. The Black & White Studio Portrait (1950–1964) . . . . . . . .11

3. The Color Studio Portrait . . . . . . . . . . . . . . . . . . . . . . . . . .18

4. Influence of the Victorian Painters . . . . . . . . . . . . . . . . . . .30

5. Photographing the Photographers (1984–1989) . . . . . . . .40

6. The Twilight Portrait . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

7. People at Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

8. Photographing the Cultural Arts . . . . . . . . . . . . . . . . . . . . .77

9. The Chrysler Museum of Art . . . . . . . . . . . . . . . . . . . . . . . .92

10. Photographing Artists (And a Writer) . . . . . . . . . . . . . . . .99

11. Photographing the Military . . . . . . . . . . . . . . . . . . . . . . .102

12. Portraits in the Home . . . . . . . . . . . . . . . . . . . . . . . . . . . .110

13. The Garden Portrait . . . . . . . . . . . . . . . . . . . . . . . . . . . . .115

12. The Hollywood Portrait . . . . . . . . . . . . . . . . . . . . . . . . . .120

Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Index

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .127

4 CLASSIC PORTRAIT PHOTOGRAPHY

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