What makes 'Fine Art' photography?

Australian's have purchased more than 14 million new digital cameras in the last three years. These cameras are equipped with sharp lenses, auto-focus, auto-exposure and auto colour balance. It would seem that its a foregone conclusion that the new camera owner is going to get a perfect picture.

Unfortunately, paying a large amount of money does not guarantee that you take perfect pictures. It doesn't even guarantee that you get good pictures. It simply means that you are the proud owner of an expensive camera.

The word 'camera' is Greek for 'writing' or 'painting' with light. And a pre-requisite for fine art photography is studying light; its direction, colour, softness or harshness and its intensity. A love of light follows this understanding.

The second pre-requisite for fine art photography is a learning how to make best use of negative space ie the dark areas of the image. The concept of negative space eludes 99% of amateur photographers and a fair number of professionals.

The third element if fine art photography is the creative development of ideas. Anyone can buy a fine camera and sharp lenses if they have the money. You cana lso attend courses and read books and do on-line courses. But you CANNOT buy ideas. Ideas come from you and you alone. For those ideas to develop you need to put rich fertilizer on your imagination - by way of creative input like art images, films, music, conversation, observation and relaxation.

If you would like to learn the basics of portraiture join me at my next UWA Portrait Course on 16 March 2013.

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.

Our new logo

Believe it or not Dafna and I finally settled on a logo - yes, version 24. Denise Williams, graphic designer extroardinaire ploughed her way through 23 versions prior to giving this one legs. My original concept was based on ad I saw for Liza Minelli - but it was dafna who added the fimal touch with the drunked Z toppling off to one side.

Studio close to Lift-Off

Dafna and i have had a few shake-down shoots sorting out lighting and backgrounds. We've installed a wall-mounted Elinchron hair light on a Manfrotto boom and a new 500w 1mx1m double-softbox on another Manfrotto wall boom. These are backed up by 1000w Elinnchron with a 2mx1m softbox and an Elinchron 240w background light.

Our wonderful handyman, David Stobie has pianted the floor Kodak 18% grey and sorted out the cabling. A mobile equipment trolley, new Sekonic Flash Meter and an audio system means that the studio is close to lift-off.