By Bill Hurter
Choked with useful suggestions that either tell and encourage, this expert guidebook to photographing infants, young children, and youths offers new innovations to maximise buyer cooperation and make sure gentle periods. the complete child-based photographic procedure is addressed, together with right gear choice, actual and behavioral controls for younger topics, operating with black-and-white exposures, assessing uncooked as opposed to JPEG modes, and comparing electronic exposures by means of picking out over- and underexposure metering. Chapters dedicated to learning studio lighting—from direct and subtle lighting fixtures strategies to making use of using umbrellas and softboxes—as good as operating in sun and twilight environments is usually featured.
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Additional info for Children's Portrait Photography Handbook
Without a modeling light it’s a good idea to check the lighting with test frame and view the results on the LCD. OVERHEAD LIGHT Out in the open, mid-day sunlight has an overhead nature that can cause “raccoon eyes”—deep shadows in the eye sockets and under the nose and lower lip. The effects are also visible on cloudy days, although they can be tricky to see. The best light for portraiture is found in or near a clearing in the woods, where tall trees provide an overhang above the subjects, thus blocking the overhead light.
If your subject is exposed to clear, blue open sky, there may be an excess of cyan in the skin tones. While you are setting up, your eyes will acclimate to the off-color rendering, and the color cast will seem to disappear. To correct this, take a custom white balance reading or set your camera to auto white balance. You can also photograph your session in the RAW mode, then fine-tune the color balance in image-processing to get a completely neutral skin tone rendering. DIRECT SUNLIGHT It is important to check the background while composing a portrait in direct sunlight.
If you use a second light or a reflector that adds light to the eyes, this too will be mirrored in the eyes. This secondary catchlight can be retouched after the shoot for a more natural appearance. LIGHTING RATIO The term “lighting ratio” is used to describe the difference in intensity between the shadow side and highlight side of the face in portraiture. It is expressed numerically as a ratio. A ratio of 3:1, for example, means that the highlight side of the face has three units of light falling on it, while the shadow side has only one unit of light falling on it.