Michael Coyne Workshop

People Photography – Masters Workshop
With Michael Coyne and Dale Neill
Notre Dame University , Fremantle
7 Feb 2011
$245 (Earlybird $200 before 24 Oct 2010)
Michael Coyne ‘The Visual Anthropologist’

A practical hands-on workshop in Fremantle with Michael Coyne and Dale Neill. (Limited to 40 participants.)
See Michael’s video: http://www.michaelcoyne.com.au/MichaelCoyne-Medium.mp4

‘I take pictures of the truth
'I don't change what I see
'Equipment isn't important ... you just need to think and feel ...
.................. Michael Coyne


Information on Michael Coyne: www.michaelcoyne.com.au
Bookings: Go to http://www.wildheart.com.au/public_panel/index.php# and download the Michael Coyne booking form
Enquiries: contact Margaret email: margaret.n@ozemail.com.auor tel: 08 9430 6422 (unavailable 25 Oct-18 Nov)

www.wildheart.com.au

Portrait Tip 2 - Camera Height

Keep your lens height a few centimetres above subject's nose height. This means the subject is looking up at the camera slightly and reducing the double-chin problem.

This also means there's less chance you are looking up inside your subject's nose.

Having the subject's face tilted slightly upwards on location usually means that there is better quality, more even light on the subject's face and less chance of deep shadows in the eye sockets, commonly referred to as raccoon eyes.

At 5'5" I often have trouble getting my lens higher than my subject's nose. A small ladder, a Pelican camera case or simply standing one or two steps higher are simple solutions. You can even get your subject to sit or kneel while you continue standing.

Obviously, distance to the subject will determine just how high you need to be. If your subject is less than a metre away you only need to be 4-5 cms higher. However, if you are shooting from ten metres away you should be about 50 cms higher (10x5cms = 50 cms).

Danielle Hadad

Danielle Haddad made a surprise visit to FACEZ last week. Until recently Danielle was Office Manager at Bucciarelli Automotives and, among other things, made the best long black in the business. (I must get some lessons!)

Danielle was also one of the volunteers for the H2O shoot earlier this year and did a remarkable job in the Swan River braving the wash from the Rottnest Ferry. Only when we finished did Danielle inform me she couldn't swim!

Keep an eye out for the beautiful Danielle - she has offered to give FAEZ a hand for this year's George Street Festival.

Charlotte Tseui

Since 1980 I’ve made about 25 trips to Bali for work, pleasure and recreation. Several friends are now a permanent part of the Bali community having lives and worked there for a decade. I love revisiting my favourite spots but am always on the lookout for something new. In recent years I’ve been impressed by the tantalising range of cuisine and the improved standard of service. However, trying to find the elusive quiet retreat where I can recharge my batteries now requires a little more effort. Check out ‘Bali’s Best’ at http://www.wildheart.com.au ‘News and Tips’

Behind the scenes

The teamwork is coming together. Dafna's behind-the-scenes shot keeps me on my toes. Just wait until we show you Dafna's brilliant new car! In the meantime we are both trying to master the new Jura coffee machine.

Mother and Son Portrait

Grand Final Day 2010 so we shot early enough to get home to witness the historic draw. I think its a lovely thought when a son gives a portrait to his mother for her birthday.

Portrait Tip 1 - Lighting

Become a Student of Light

Lighting is probably the single most important technical aspect of portraiture. Personally I would prefer to have my portrait taken by someone with a Box Brownie camera who understood lighting rather than a person with a Hasselblad who knew nothing about lighting. Successful portrait photographers study and use light to enhance their subjects.

Simple lighting techniques are invariably the most successful. One light source (the sun or white wall or a window) with one set of shadows and highlights is nearly always preferable to multiple light sources and shadows.

Study the lighting on people’s faces in the lounge room, cafes and classrooms. When you see lighting that enhances the subject’s features analyse why – the light source, colour, intensity, sharpness or diffuseness, its direction and duration. Then make a note of where you are, the time of year and time of day. This information is valuable in terms of building up a repertoire of shooting locations.

Three rules for portrait lighting:

Keep it simple

Keep it soft

Keep it shadowless

Keeping it simple means using just one light source. Sometimes people get enthused with the idea of studio lighting. Studio lights can and do produce fabulous results.

However, using multiple light sources before you learn to use ONE light correctly could simply be compounding the errors.

Keeping it soft means avoiding using the direct, harsh Australian sunlight. There are, of course, some exceptions. Direct sun and sharp shadows may suit the stockman in the Kimberley or the swimmer at Cottesloe.

However, the challenge becomes even greater for the photographer needs to preserve the feel for the light and at the same time ensure there is precious detail in the shadows. Cloudy, overcast conditions, very early morning or very late afternoon lend themselves to portrait lighting. To soften the harshness of the light a reflector can be used to bounce light back into the shadow area or a diffuser used between the sun and the subject to soften the light source.

Remember Rembrandt! Look at the cheek furthest from the window (shadow side of face). When a soft inverted ‘triangle’ appears under the eye, you should have ideal lighting for your portrait.

A large light-coloured wall is essentially a huge reflector. Use this wall as a light source not as a background. A wall like this used in combination with a window provides wonderful lighting opportunities.

Keeping a portrait shadowless is not always desirable however in general terms shadows should be small, soft and subtle. To achieve this, start with a soft light source, such a hazy sun. Secondly, position the light source or the subject’s face so that the light source is just slightly off the head-nose axis and slightly above eye height. Study the shadow under the nose. There should be a small, almost imperceptible shadow. Avoid crossed or multiple shadows.