Source: http://blog.kitfphoto.com/Zeltsman/
In addition to those organizations sponsored classes, he also taught his approach to traditional classic portraiture to the many professional portrait photographers who attended his private limited enrollment five day classes, held throughout USA, Canada, Australia, and Puerto Rico. Those classes were limited to 15 photographers, and were usually held in someone’s studio.
Joe retired at age 80. He is a LIFE MEMBER of Professional Photographers of America, American Society of Photographers, Professional Photographers Association of New Jersey, and Cameracraftsmen of America, Inc.. Shortly after his 90th birthday, he purchased a computer, scanner, printer, etc., and after many endless hours learning to use it, compiled everything he has been teaching for so many years into this detailed instructional manual, to be posted on this Website as his legacy to his profession.
Joe’s introductory comments: I gravitated toward portrait photography because I like people and enjoy working with them. The most important task confronting the portrait photographer is to be able to capture a variety of interesting facial expressions reflecting the subject’s personality.
Meaningful portraiture is mainly the result of communication between the photographer and the subject. Technical proficiency serves merely as a preparation of the foundation of the portrait by establishing the pose, lighting, and camera position. Technique may therefore be considered as the language for expressing the substance of the photographer’s statement eloquently.
Note: I urge anyone interested in this concept, to concentrate first on mastering the various technical aspects offered throughout the following Chapters. Soon, from habit, you will perform the purely technical tasks automatically. When you reach that level, your mind will remain free to concentrate on communicating with your subjects, and you will begin to create truly effective portraiture.
Structured Portraiture
People may be photographed different ways to serve different functions, and structured portraiture roughly divides into five categories.
PUBLICITY: The principal aim of a publicity portrait is to create an eye-catching image with impact, to attract and hold a viewer’s attention....without necessarily reflecting the subject’s actual likeness and personality. This style of portraiture is produced mainly for publicity, promotions, and posters in the field of performing arts.
GLAMOUR: The glamour approach to portraiture allows us to alter the subject’s natural appearance, by utilizing camera perspective and lighting to achieve an aura of glamour and sophistication. The primary purpose of a glamour portrait is to create an interesting picture, rather than to reflect the subject’s true likeness.
DOCUMENTARY: The documentary category fulfills a client’s need for a portrait in connection with a social or other significant event. It is often impossible to achieve aesthetically pleasing results in this style of portraiture because of clothing, props, and the locale of the function which must be included in the picture. However, the documentary value of these portraits to the client, make the compromise acceptable. These portraits are often done for the news media or some other public use.
ENVIRONMENTAL: This approach to portraiture offers a means for creating an interesting and informative portrayal of a person. By including some object or locale within the composition pertinent to the subject’s occupation or hobby, the photographer provides the viewer with relevant information about that person. But, quite often, when the subject is engaged in an activity in that portrayal, the result may again fail to reflect that person’s actual likeness.
CLASSIC: The remaining category, the pure traditional classic approach to portraiture, is indeed, aimed specifically toward a portrayal showing the subject’s face from an attractive angle, supported by an effectively arranged body pose. The total effect, as the viewer sees it, should appear natural, comfortable looking, and unaffected. Regardless of how much of the subject’s body is showing, the clothing, props, background, or any other item included in the picture, must remain subdued. Only the face and expression should stand out as the dominant point of interest to a beholder.
The following images are examples of Zeltsman portraits of young children, babies, men, women, small groups and family groups. Singly or together. In close-up, three quarter length and full length poses. After viewing these examples of pure traditional classic portraiture, please read the comments at the end of this display.
As you examine and study these images, you’ll become aware that your visual response in viewing these portraits follows a specific planned pattern: As you glance at any one of these portraits, whether a close-up, three-quarter length, or full length pose, your attention is immediately drawn to the faces and expressions, that is, of course, the primary point of interest in classic portraiture.
Note also how this emphasis on the faces is preserved by an absence of any distracting elements within the image that may compete for attention, that is achieved by coordinating the tonal values of clothing, background, props, etc.... And finally, note the elegant simplicity of the poses. As you see, everyone in all my portraits, looks comfortable, relaxed, and not as if they were manipulated into a pose.
Important comment: I know that many photographers work on location, outdoors and indoors, and may feel that because my work was done within a studio environment, the technical aspects of my approach do not apply to their work. That, of course, is not so!!! If you do portraits of people, good posing and effective lighting remain the important ingredients no matter where you work. And handling and communicating with your subjects is the same. And understanding composition is also the same. Thus, the effects you see reflecting in my portraits, are just as effective regardless where you work.
Some 50 years ago, I received a call from a photographer friend from another town. He asked me if I’d like to attend a five-day class with Van Moore, a well-known portrait photographer.....especially renowned for his bridal portraiture. I said that I would.....and I did.
That is where my story begins. Van Moore opened the session by showing us a small four-inch high figurine of the famous head and shoulders pose of Aphrodite. He told us he photographed it from five different angles, and used slides to show us the results. We saw five different, yet perfectly beautiful poses of Aphrodite, achieved simply by a change of camera angle, and readjustment of the lighting.
The bride was ready, and Van arranged her in a graceful full length standing pose. He then asked us to mentally crop and look only at the head and shoulders close-up area of the pose, and there was the Aphrodite pose. Compare with the second from the left photo of the figurine) He then pointed out how the lines of the Aphrodite composition of the head and shoulders pose continue right on reflecting the graceful lines of the S curve throughout the entire pose of the bride. Thus this one pose may be photographed as a head and shoulders close up, a three quarter pose, or in full length.
As I watched Van pose the bride, I became aware that every pose he demonstrated, seated or standing, reflected the graceful elegance of the S curve, and I realized that each pose Van arranged, could be photographed effectively from 3 o 4 different angles, without changing the pose, by merely changing the camera perspective, and readjusting the lighting.....like photographing the figurine.
"Thank you, Van Moore"
The wonderful session with Van Moore ended. I got back to my studio and looked at my work on the walls. I looked at all of the portraits of women, not just brides, discovered there were several that I particularly liked....and realized that they were in the Aphrodite pose. Interestingly, I also realized that I came up with these poses purely by trial and error, and not as a result of knowing how to do it. But not anymore. Van Moore is responsible for triggering my thoughts toward rethinking and changing my approach to posing.
My New Approach
What was it that jolted my brain, as I watched Van create all those beautiful poses? First, the realization that every full length pose he arranged, standing or seated, reflected the graceful lines of the "S" curve (as Aphrodite).
Then, looking at the comfortably natural way the body position related to the head position in every pose Van demonstrated, I realized something even more important. I saw in my mind 3 or 4 equally effective poses of that arrangement, by stepping over in front of one or another facial view, and looking at the pose from that perspective.
Example: The five lovely portraits above of the young woman, are the result of photographing the same pose from five different camera perspectives, without changing the pose in any way, as was done with the Aphrodite figurine.
I came away from that session with Van Moore, with what was to me then, two interesting and important discoveries. One: Posing people in a natural classic style follows a specific pattern. (This will be detailed in a later Chapter). Two: That a pose arranged reflecting a specific composition, can be photographed showing different angles of the face, and in a variety of croppings. (Detailed in later Chapters)
That was at the time (1950’s) when I decided to concentrate all my efforts on Portrait Photography. And, of course, my approach to the technical aspects of portraiture then, was the same as other photographers.
But the session with Van Moore changed that. I began thinking of other things that should be changed, and that started me on the way to developing what is now "My Approach to traditional Classic Portraiture.
The first important change needed was based on the following: FACT: The dominant point of interest in classic portraiture must be the subject’s face and expression. And because the subject’s body naturally remains in a position that is related to the face, why then do photographers begin a portrait session by posing the subject’s body first, and then have to accept whatever view of the face is available from that angle??? Why not begin by deciding first which view of the face to photograph, and then arranging the body pose to support that view.???
And so, indeed, the first significantly important change in my approach to portraiture was to begin a portrait session not by posing the subject, but to examine and evaluate the subject’s facial features, and decide which facial view, or views, to photograph. Then arranging the necessary pose to support the chosen facial angle. The end result is an effectively planned image, thus eliminating the probing trial and error method of posing.
What about posing the man? Still 50 years ago, having developed my technique for posing the woman, based on the Aphrodite composition, I began to wonder, perhaps there was also some particular common composition for posing the male. I began looking at many portraits of men by top portrait photographers. I searched all kinds of publications. Particularly, I watched print competitions, and I discovered a common denominator in all the images I liked. Compositionally, they all seemed to fit into a C shape, rather than the S curve that was the feminine pose.
I worked and practiced with a man until I was able to arrange the full range of poses, head and shoulders, three-quarter length and full length, seated or standing, all reflecting the C shape composition, and named it the Masculine Composition.
See Chapter 3 for detailed coverage of why and how of facial evaluation. And Chapter 4, 5, 6, and 7, to understand the two posing compositions I identify as Masculine and Feminine. There is no special significance to the terms "Masculine or Feminine" composition, other than for the purpose of identification.
NOTE: All of my portraits represent a carefully planned image, that begins with a facial evaluation and planning session prior to posing, and then every subject is posed in either a masculine, or feminine composition. You’ll find this fully detailed and illustrated in the Chapters on Posing Men, and Posing Women.
Note: This is not intended as a study of lenses of varying focal lengths and their uses. The only purpose of the following information, is to provide you with practical guidelines for selecting lenses of correct focal lengths related to portraiture, without actually identifying or recommending any particular lenses.
Most portrait poses fall into one of the following three categories. The close-up head and shoulders pose; the mid-distance three quarter length pose; and the long-distance full length pose. Thus, lenses of different focal lengths are required for maintaining natural perspective and for avoiding distortion when photographing poses in all of the above three categories.
Yet, all too often, photographers are apt to compromise on a focal length of a lens when photographing a particular portrait pose....achieving less than satisfactory results. When the focal length of a lens used to photograph a close-up head and shoulders pose is much shorter than normally required, it usually follows that the camera -to-subject distance is shortened to fill the negative properly. This often causes the subject’s nose or other facial features to become slightly distorted.
Likewise, when too short a focal length lens is used to photograph a mid-distance three quarter length pose, a hand or hands resting in a forward position within the pose may appear too large.
Conversely, when the focal length of a lens is much longer than normally required for a given pose, it may tend to flatten and reduce the effect of depth and three-dimensionality. Ideally then, it follows that lenses of recommended focal lengths be used to photograph close-up, mid-distance, and full length poses on the same film size. The following formula offers a practical guide for selecting effective focal lengths for each different portrait posing category, regardless of the format size you may be using.
The Formula
The basic general-purpose lens normally supplied with most cameras, has a focal length that approximates the measurement taken diagonally from corner to corner of the film format. For example, the 6x6cm format camera would have an 80mm lens; the 6x7 camera would have a 90mm lens; the 35mm format a 40-55mm lens; and the 4x5 inch format would call for a 150mm lens. In portraiture, this so-called general purpose "normal lens" is used for all long shots such as full length poses, seated or standing, and for groups.
In estimating the minimum requirement for close-up head and shoulders portraits, the focal length of the lens should equal approximately double the measurement taken diagonally from corner to corner of the format. A somewhat longer focal length may be considered as maximum.
For example, with the 35mm format, you may use a 105mm focal length as minimum or 135mm focal length as maximum; with a 6x6mm format use 180mm, or 250mm. When you photograph three quarter length (mid distance) portrait poses, use the shorter of the two focal lengths suggested above for each format.
Note: No lens is complete without a lens shade or lens hood, regardless of where or how the lens is used. That is absolutely essential for assuring good, crisp negative quality.
Camera Perspective
You must know where to position the camera to properly photograph the subject. It is not simply a matter of aiming the camera toward the subject. Instead, one must place the camera at a special angle to achieve a planned perspective of the subject. Indeed, it is possible to alter the shape and form of the subject’s facial structure substantially, by varying the perspective, as illustrated here.
The photo on the left (#5) shows the effect of a high camera perspective. As you see, too much of the top of the head is showing. The face and the nose become elongated. The chin appears weak. Not enough of the neck is visible. The overall result is a distortion of the facial features to a point where the actual likeness of the subject becomes obscure.
The photo on the right shows the effect of what happens when the camera perspective is too low. In that case, there is not enough of the top of the head showing. The face and the nose are foreshortened. The chin and the neck appear too prominent. Again, the facial features are altered sufficiently to obscure the actual likeness of the subject.
Now here, when you see what this young lady really looks like, you can understand the importance of using correct camera perspective in portraiture. Retaining an accurate likeness of a subject simply means that, all components of the subject’s facial features must be recorded by the camera in perfect balance with each other. None of the features should be distorted.
When the camera is placed where it will record an absolutely normal view of the face, that camera position is referred to as a normal camera perspective.
Important point: The height of the camera may therefore, fluctuate to whatever height may be needed to record a normal view of the face. It depends on how the subject is positioned for the portrait.
When you want to capture a recognizable likeness of a subject, obviously you avoid using an overly-high or overly-low camera perspective. But on some occasions, depending on a particular subject’s facial structure, you may decide to digress from the normal perspective. That would be, when you think the subject’s appearance may be enhanced by this change.
For example, you may consider using a slightly higher camera perspective (as shown in photo #8, on the left) when you photograph a subject with a rather short, turned-up nose. This slight change will tend to enhance that subject’s appearance, without overly influencing the subject’s likeness. Conversely, when you photograph a subject with a rather long nose, you could enhance that subject’s appearance by using a slightly lower camera perspective (see photo #9 on the right).
By and large, the normal perspective will always prevail. You will only make use of a higher or lower perspective when, in your opinion, the subject’s appearance may be enhanced by it. Note - in general photography such options are very useful as a means for creating unusual effects. But in traditional classic portraiture, digressing from the normal camera perspective should be carefully considered, and rarely used.
Camera Positions for Normal Perspective
Close-up poses: In head and shoulders poses, the camera position is always related to the subject’s face. After the pose is completed the camera is positioned at a height and tilt necessary to bring the film plane parallel to the facial plane. This can only be done when the pose is framed properly in the camera. That establishes a normal camera perspective for recording an undistorted likeness of the face, and is the correct camera height for that pose.
In close-up poses of two faces on different levels, you complete the pose first. Then position the camera at a height where the two facial planes will be in parallel with the plane of the film. At this point, because the faces are on different levels, the exact normal view of each face may have to be adjusted for the camera by a slight tilt of the head, up or down.
A few comments related to arranging close-up head and shoulders poses. Avoid any thoughts about where the camera may be positioned, until you have completely arranged a pose. Unrestricted, you may have a subject’s face tilted up or down as you feel about any particular pose. As a result, you will then position the camera at whatever height necessary to maintain normal camera perspective.
Mid-distance poses: The method for establishing correct camera heights for three-quarter length poses is somewhat different. First, pose the subject either seated or standing, directed toward the basic camera position, using a masculine or a feminine composition that will support the view you want of the face. Then, after the pose is arranged and refined to your satisfaction, bring the camera to a height where its film plane can remain parallel with the plane of the overall body composition when the pose is accurately framed by the camera.
It is important to remember that, while the camera height in a close-up pose is related to the tilt of the subject’s facial angle, exactly the opposite holds true in a three-quarter length pose. Here, the camera height is based on how the body is posed.
As a result of establishing the camera height this way, an important new factor emerges and must be dealt with. Each time you position the camera at a required height needed to record an undistorted view of a three-quarter length body composition, the facial angle you intend to photograph may not be accurately related to this camera position. In that case, to complete the pose you must adjust the position of the subject‘s head, bringing the desired facial angle to the camera. This procedure is applied to all three-quarter length portraits, in seated or standing arrangements.
Full-length poses: The procedure for mid-distance poses also applies to seated full length poses, with only one difference. The subject’s entire figure is framed in the camera from a height where the film plane can remain parallel with the plane of the posed figure. The pose is then completed by tilting the head to bring the normal view of the face to the camera.
Standing full length poses require a different approach. The camera must be positioned where the film plane will remain parallel with the standing figure when the pose is framed in the camera. That means the camera must be kept in an absolutely straight upright position, without tilting up or down. The reason for that, is to avoid distorting the figure.
When you have to tip the camera down to frame the pose properly, the figure appears foreshortened. When you tip the camera upwards to frame the pose, the figure is elongated. Hence, the need to keep the camera in a straight upright position is essential, in order to achieve a normal, undistorted portrayal of the figure. That establishes a normal camera position for standing full-length poses.
Keeping the camera parallel with the figure places the camera at about the height of the subject’s waist level, which is normal. But, keep in mind the need to adjust the subject’s head at this point, to relate a normal facial view to the camera. Another reason to avoid tilting the camera is that full length portraiture, particularly on location, often includes surrounding objects, such as windows, doors, drapes, book shelves, etc.. Tilting the camera causes unpleasant distortion of vertical lines. Keeping the camera parallel with the surrounding area eliminates that problem.
Two or More Subjects
The above instructions for establishing a normal camera perspective in head and shoulders, three quarter length, and full length poses, apply when posing separate individuals. But when these guidelines are applied to groupings of two or more people, additional adjustments must be made.
Close-up poses: When two subjects are arranged in a head and shoulder pose, their faces are usually placed on different levels to create an interesting composition.
Indeed, the height relationship between the two faces usually varies from pose to pose. Yet, in spite of appearing on different levels in the composition, both faces should ultimately appear in the portrait as if viewed from a normal camera perspective.
To achieve that effect, first, arrange and complete the desired pose. Then position the camera at a height averaging between the two faces. Now, adjust the head of each subject up or down as needed, to relate the normal undistorted view of each face to the camera.
Full length poses of groups: If you’ve read my chapter on posing groups in this series, and looked at the examples of my group portraiture, you will understand that only full length poses allow me the space to create an interesting grouping of faces, rather than just bodies. You would have also read and saw that I arrange all groups in a single row. Look at all my group portraits.....all the faces are in a single plane. No second row!
Camera placement for groups: After the pose is arranged, the camera is positioned at a height level facing the general middle of the overall group. That establishes a basic camera perspective for recording the figures and faces looking normally proportioned and undistorted.
Some closing comments: First, you probably wonder why I failed to mention relating each face in the group to the camera position. The answer is that the faces in full length groups are small. They are distributed throughout the picture area. So, when the camera is positioned facing the general middle of the overall group, I ask everyone to look toward the camera, and accept the likeness of all faces as they appear at that distance. This approach applies only to full length group arrangements.
Things to remember for establishing a normal camera perspective
1. Close-up poses: The camera position is related to the subject’s face by placing the camera at a height and tilt to achieve a parallel between the facial plane and the film plane.
2. Three quarter length poses: For seated or standing subjects the camera position is related to the subject’s figure. It is placed at a height to properly frame the completed pose in the camera. Then, the subject’s normal undistorted view of the face is related to the camera.
3. Full length poses: When photographing a full length pose with the subject seated, the same principles apply as for three quarter length poses, detailed just above.
4. Standing poses: The camera is kept in a straight upright position without tilting up or down. It is positioned at a height (waist level) to frame the figure in the camera. Then, the subject’s face must be related to the camera height.
