What clothing works best for a portrait?

Pick your clothing carefully


There are two types of photos when it comes to clothing: 1) For Portraits and 2) For Fashion.

If the photo shoot is for portrait you need to be sure that the clothing doesn't distract, but rather compliments the person's face. The fashion photo shoot is all about the clothing and the model is just there to make the clothing look good.

Look at these three examples of tops for a typical head shot.

Photo #1

Photo #2

Photo #3

To be sure we are concentrating on how clothing can add or distract from a portrait I shot these all the same so that the only difference is really the clothing.

First of all all three outfits look good on the model and the point isn't about which one you like the most. The point in a portrait photo is which one makes you look more at the model's face and less about the clothing?

Simple Tips:

1. Avoid busy patterns as in Photo #1
2. Choose a solid as in Photo #2
3. Avoid Stripes as in Photo #3

Each person will look best in one of the following necklines: v-neck, oval or round.

Color choices can be tricky as well. Everyone will look good in Aqua. The reason for this is this is the closest to the complementary color for the skin.

While different ethnic groups have different skin, the general rule is it is more about how light or dark the skin is more than color differences.

However the other factor is our eyes and hair color. Complimentary and the same color are generally good on a person. Complimentary colors tend to make you pop more than the same colors.

The general rule which is often the most difficult to follow is always keeping it simple.

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Lighting diagram used for examples

Items:
(2) Alienbees B1600
1-stop brighter on background than lights on subject

White backdrop
I recommend not having it perpendicular to the camera. Slight angle will help avoid light flare caused by light bouncing off background

(2) Alienbees B1600 with bounce white umbrellas

Nikon D4 with 28-300mm
No description for this item.

Light diagrams for dancers

The client was looking for a "Gritty Look" and we decided to use a brick wall to look like you are backstage and tossing in the lights with gels in the background to add to the effect.

"Our dance department needs some photos for a poster to promote the department," was the request.  After talking about the request and what they wanted in more detail I realized we were going to wing this one.

I packed up in my van all my lights and backgrounds.  I had most of my cameras and lenses with me.

They wanted gritty and edgy in one photo.  Then they wanted other traditional photos for ballet.

Here are two from the photo shoot with the diagrams of how I used lights in the photos.  My next blog I will show a couple more photos from the shoot as well.

The is the lighting diagram for the photo above.

Do you have a favorite from these two?  If so why did you pick it over the other one.  What would you change if you could on these photos?  There is always a place to comment on these blogs below.

This is more of a classic look and I liked the moment a lot.  The columns were in a lobby and we decided to use these to help set the mood.  Used a warm gel to also help convey a warm moment.

This is the diagram for the Ballerina by herself.

High Key Portraits - How to guide

This is called a "High Key Portrait" because of the white background.

The toughest part of doing "High Key Portraits" is getting the lighting just right. Before I address that let me tell you why I like using them at times.  In this case the model wanted some head shots for acting career. It is easier to light her very evenly and let her move around and then capture "moments."

Setting up for this type of lighting requires a few "know hows."  First setup the background so it isn't perpendicular to the camera.  A slight angle is needed. If you don't do this you will have more photos with a flare. 

Place two strobes on either side slightly behind where the subject will be and angle them at 45 degrees to the background. 

Notice background and placement of the lights.

Place two strobes with shoot through umbrellas 45 degrees to the subject.  The closer they are to the subject, but not in the frame will create the softest lighting.

Meter the main strobes (umbrellas) and get them even in output of light. Choose an f/stop that give you the desired depth-of-field that you like.  Then set the background lights evenly and 1.5 to 2 stops greater.  Be sure they evenly light the background.

Take a few test shots.  If you look on your histogram and you have the blinking highlights function on, then the background should all blink and the subject should be fine.

I would suggest using a lens shade for this to cut down on the flare that is possible from all the lights.