Author Photo

Hi everyone,

I shot some portraits for my cousin's wife for her upcoming book, and would appreciate some C&C. I don't really do portraits much, so I'm trying to learn from this experience. Posing, lighting, editing... The guidelines from the publisher were very vague (they really just asked for 300dpi, as useful as that is).

Lighting was a 430ex II shot through an umbrella, with a white reflector for fill (and just a bit of a pop from the on-camera 580ex II for catchlights).

Second one is a bit back focused, but she loved the expression and didn't think it was too soft, so I kept it anyway.

TIA!

-Brian

I think the first one is a better choice for the stated purpose. Just tone down the hot spots on her face. Her tilt in #2 makes for an impression of an image taken for social purposes, as in a hospitality business where friendliness is expected of some employees. Author photos are typically just headshots unless the author's environment is significant.

Thanks! Good point on the poses, I'll see what I can do about the hot spots!

I'd reshoot them.

I'm not intending to be harsh, but given the purpose of the image, we do have to get quite strict. I'm giving you my input both as a photographer and a publisher (I'm both).

Your backgrounds are not working. She's too close to the background and the backgrounds are not uniform patterns or centred around her head. Try to choose something simpler; this will also make it much easier for you to clone out stray hair in PS.

Things to consider:

• What's the book about? You don't have to tell us, but the topic will determine or influence the choice of pose, point of view, and clothing.
  
  
• Speaking of clothing... Will the image be printed in colour or B&W? If the former, ask her to wear something whose colour will be harmonious with the background. E.g., if the background is greenery it's best if she wears something red. If the photo will be printed in B&W, go for contrast, taking care that the background is not too bright, or the eye will be pulled to it instead of her face. If you use a dark background, you'll probably need a hair light.
  
  
• Her wearing long-sleeved clothing is a good idea. Bare arms can take attention away from the face, which is the most important element in a portrait. Good work there!
  
  
• Photo #2 is a masculine pose. Nice going having her lean a bit so that one shoulder is higher than the other (unless you're shooting soldiers, you don't want both shoulders at the same level in most portraits, regardless of the subjects' gender), but to make that pose feminine ask he to tilt her head towards the shoulder that's higher. (Conversely, if you ever shoot a portrait of a man, don't ask him to tilt his head towards the highest shoulder, but to the lower one.)
  
  
• Photo #1 is almost there, but upon the whole is best not to shoot people head on, especially women, as the lens tends to widen them. She's not one to worry about that, but I'd still angle her body away from the light and then ask her to turn just her head square on towards the camera. Also, for feminine portraits, the position of the hands is critical: always at an angle towards the camera, never head on. Look at your photo again and note how graceful her right hand looks, whereas the left one doesn't. Her smile also looks a bit diffident. I'd like to see the smile in #2 in photo #1.
  

This lighting setup looks like it was done for someone who is a bit heavier.

I agree with the feedback here so far. I like the more formal pose, but I would definitely pull her off the wall, and reduce the contrast on her face. Bringing the key around to the front, just enough so some of the light lands under the other eye, will make her look a bit better.
With eyes so dark, it can help to have a catchlight underneath her on the fill side. Usually I use something silver that's just bouncing ambient light. Close and big. I would do this instead of the on-camera flash, which isn't doing her any favors. I find that hard-edged shadow under her chin distracting.

I'd also stop down to f/4 or so. You'll get better sharpness and fewer misses. Adding the extra 3 feet between subject and background will more than make up for it.

Great comments, everyone. Thank you! It's amazing how much of this I thought I knew, and then... forgot. And apparently didn't notice until someone else pointed it out. But these are all super helpful- I'll ask her if she's up for a reshoot and see how much of it I can put into practice.

JonKline, would you mind elaborating on your comment about the light being for someone heavier? I don't know enough about portrait lighting to consciously modify my light for someone's weight... my thoughts on this were more about making speedlights and small umbrellas as soft and "generically nice" as possible.

I'm no expert, but if you do plan a re-shoot, I would suggest going to the local library or bookshop and studying the various author pics on the dust jackets. See what poses you like and try to reverse engineer the lighting setup. You don't have to copy exactly but at least you can get some ideas of what you want to achieve. That's usually what I do (looking through examples) when attempting to make senior portraits.

As someone's weight goes up, I generally:

Move the key light higher (to reduce light under the chin)
Move the key light wider (to slim and shape the face)
If the nose and face is not pointing along the axis of the camera and lens, I'll move the key to the far side of the face
Increase the contrast ratio between key and fill
Have them pose at an angle, particularly their shoulders
Raise the camera slightly, especially for women
Spend forever trying to get enough big soft light in their eyes without overlighting the fill side

Most of what I do with light is making people slimmer, eyes brighter, eyeglasses less glarey, and de-emphasizing asymmetrical features. Often, these are at odds with each other, of course.

Excellent advise from RhodyPhotos. Do look at what the pros are doing, and then replicate it. This is NOT copying: it's following a standard; don't worry, you'll get your personal touch in, many times without even consciously doing it.

If you do a highly recommended reshoot, don't go photojournalistic. Just don't.

Plan your shots. STAGE them.

If you're going for a certain look, plan for it, arrange the lighting (both pattern and equipment) and background, test it on your assistant or yourself, and then just ask the talent to step in, strike the pose, and fire a number of images. Rinse and repeat. That's how the pros do it. In addition to ending up with more 'keepers', being this prepared makes you look professional to the clients, relaxes them (very, very important), and takes only a few minutes of their time (which they appreciate, as many people feel naturally uncomfortable in front of the camera).

Some good comments here.... but first of all.... what is the book about? What Genre? Depends on what image the author is trying to portray. There is a HUGE difference in images used for self help versus say a business book. I shoot a lot of head shots for colleges - and the role of the person should be reinforced by the image. In my game its everything from goofy girls soccer team, to football coaches media guide shots, to chancellors and school presidents. All very different.

Just have the image match the genre the author is trying to relay. There is absolutely no wrong answer here if she loves it. Just make sure she is being honest with you - and not just nice.

Technically I like the both. They show a warmth... and that is a good thing.

To nit, if that really is necessary, the smile on the second one is a but forced, pregnant as they say, but your really got to stare at it to see that. Also remember this is going to be rendered relatively small - and will by 98% of people - be glanced at. No one is going to say "I was going to read this, but the author looks like a looser". They again portray a warmness, welcoming.... great unless she is writing an interpretative piece on "War and Peace" or "The Art of War". Then maybe not.....