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Portrait Photography sharp as the the sharpest lenses out there. Wide open it gives some softness to the edges and an out of focus background. Environmental work is the kind that is the supreme example of the art. These are the portraits that never get forgotten. Show some of the subjects life, and they relax more. And love the result more. A pretty face is a pretty face, but a person in their home or on their tractor. That is ageless. -- Gerry Siegel (Honolulu), March 17, 2002 As always, an item on photo.net talking too much about cameras, lenses and films, and not enough about photography. I don't care whether you used an SLR, TLR, P&S, rangefinder, 35mm, 6x6 or even flippin' APS. I care what pictures you take. You don't meet up with other writers and talk about typewriters and pens. You don't meet up with other artists and talk about paintbrushes. So why do photographers always seem to spend hours talking about flipping cameras! -- Tom Morris, May 14, 2002 Check out this Portrait of my 5 months old son -- Kalpesh Sheth, June 13, 2002 Alex Lee's picture of Camille (two above at this writing) is a perfect example of the need for short-telephoto portrait lenses. If I were shooting her in a tightly cropped frame as he did, I would have used a 135mm, because beautiful as she is, I'll bet she goes on and on about her ski-jump nose. That's what a girl friend of mine called hers, but I loved it, too. Mr. Lee's objectivity has been clouded by his appreciation of her beauty, and the use of a short-tele would have made her nose less prominent, instead of exaggerating it, even beyond how she appears to the corporeal eye-brain connection that cancels out the phenomenon of optical physics, perspective. If Mr. Lee's intent was to lend emphasis to the subject's nose because he likes it, then his choice of a 50mm lens in a tight shot is appropriate. A subject with a broad, flat nose would be better served by use of a 50mm, the closer perspective narrowing the nose and bringing it out. The perspective shaping power of lenses is the first and most effective tool a photographer has to emphasize or de-emphasize a subject's features, for good or bad, or different. And to Gerry Siegel, I envy you your 20/20 vision, but when it begins to fail you so that you can't clearly see the image in the viewfinder as quickly as you used to, you'll think that AF is a Godsend and realize that it IS a necessity, because without it you'll lose shots. In portraiture or candid people photography, time taken to frame and focus, if more than an instant, is the killer of the first, honest expression, the natural smile and the subject's patience. After you've learned to see your AF's focus-lock indicators (depending on mode and lens) as quickly as you see a flash-ready light come on, then you can trust the camera and go with the shot you know you want, even if your eyes haven't caught up with the camera's yet. http://www.photo.net/portraits/intro (22 of 37)7/3/2005 2:16:41 AM
Portrait Photography -- Malcolm Kantzler, July 14, 2002 A 50mm lens is good lens to have especially with the new dSLRs. A 50mm becomes about an 80mm on my d60. Here's a portrait experimenting with colored gels: -- Paul Andre, July 22, 2002 http://www.photo.net/portraits/intro (23 of 37)7/3/2005 2:16:41 AM Model: Jules More of my photos
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