How many have lost a sheet or two when trying to make a portrait and the model moves and does not tell you? Do you use an (old timer) support for the neck for your portraits?
How many have lost a sheet or two when trying to make a portrait and the model moves and does not tell you? Do you use an (old timer) support for the neck for your portraits?
"I have never in my life made music for money or fame. God walks out of the room when you are thinking about money." -- Quincy Jones
Unrealistic to expect a portrait sitter to remain absolutely still.
If strobe light is used, portrait sitter movement is mostly OK, with hot lights much less so.
One approach would be to get the portrait sitter comfy and relaxed, then make the eye to eye contact, aid-support the portrait sitter to relax, make conversation and related to work with the portrait sitter to achieve an expressive portrait.
Film will be lost-wasted, really no big deal in the overall end result.
Bernice
Originally Posted by pepeguitarra
What with all the automated equipment for digital and medium and 35mm film, the curve for large format is as much learning about how photography works, as learning about how LF equipment works. (Probably more.)
For example . . .
>> Knowing how to correct for reciprocity.
>> Proper filtration to use with certain kinds of light.
>> Having to meter a scene, versus relying on internal equipment meters.
>> Composing a photo from a reversed image.
>> Managing depth of field.
>> Metering individual parts of a scene.
>> Etc. Etc.
And, then there's processing the image. For black and white, which is much more the focus of my LF work, one typically doesn't just send the negative to an lab and receive an image in return. The best work gets done, only if, the photographer does all this work themselves. So, the photographer must really understand the process. Many of these same steps occur when one sends medium or 35mm format film (or digital images) to a lab. But, without the automation.
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