Part A_ipi Presentation Final Compressed

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005

2005 Presentation for

The Network for Independents

by Bill Abey M. Photog. CR. ASP 1

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected] ♦ Backgrounds by

© Bill Abey 2004

Thank you ...for providing all the Backgrounds and Lighting equipment and for permitting me to share with you ...the images I have created at their expense for use in the catalogue Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Photographic Basics are Still the Foundation No Matter What the Medium - Film or Digital Portrait excellence is built on a thorough understanding of the basic foundation of GREAT Portrait Photography

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© Bill Abey 2004 Overview Photography is changing at a faster pace than ever before… For many years I have spent 5-7 hours reviewing and photographing the PPA print exhibit to look for trends and changes… In my judgment this past year’s exhibit showed more creativity and variety than ever before… I believe the ability to do print enhancements digitally was a strong contributing factor Some of these trends include z

Natural environmental backgrounds i.e. interior and exterior

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Camera eye involvement with nature or activity

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Photojournalistic portrait styling

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Window light images

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It was also obvious that there are many photographers who don’t understand many of the basics of the photographic process i.e. lighting, posing, expression, eye direction and composition

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 What We Will Talk About z

The meaning of Photography…

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List of Digital advantages

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Portrait basics and the changes Digital Capture brings to the table

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Understanding color keys

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Going from Good to Great Lighting

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Lighting patterns... Soft & Hard light Environmental lighting How to photograph on CP Backgrounds

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Body Positions one & two

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C & S Head tips

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Facial views & facial perspective

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Camera viewpoint Eye Mouth expression Composition No Touch Posing techniques Flow posing techniques Posing from extreme close-up through full length Hand held vs.. Tripod Putting it all together z A demo on developing a photography script Equipment & Software Presentation Training Associates

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© Bill Abey 2004 The Growing List of Digital Advantages z z z z z z z z z z z z z z z z z

No film cost Hair –Teeth corrections Faster better retouching Switch heads Open eyes More consistent color Same file can be color, black & white or sepia Touch of color Change of saturation Unique sizes Unique borders and mats Raw file format to preserve file Create lossless copies Vignetting & soft focus or nothing on the same image Unique composites Fewer employees Create customer excitement

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Artistic effects Posterization effects Infrared effects Hand held camera benefits Easily switching from horizontal to vertical Color cast correction Paper variety Image light fastness No dust spots Background replacement Email images Sharpen soft images Selective sharpening & blurring No Chemicals Quicker delivery Instant review of expression and exposure by photographer & client

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Photography Is… z

The first step of the manufacturing process

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The second step in the sales process

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The second step in the marketing process

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Photography is MASS CUSTOMIZATION

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Great Photography creates an Emotional response in the eyes of the viewer

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Photography is Story Telling

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© Bill Abey 2004 Using the Meaning of Photography Photography comes from the Greek word Photographis

Photography Means: Writing with light… ●When a Photographer photographs someone they are making a statement about that person ●Training a photographer to think about this every time they trip the shutter will make them a better photographer ● Understanding the basics of portrait photography make this doable You and Your customers will be happier and you will make more money

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March 2005 Same story different viewpoint...

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© Bill Abey 2004 y

Impact & Storytelling

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March 2005 Impact - Storytelling

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© Bill Abey 2004

Emotion

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March 2005

Emotion

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© Bill Abey 2004

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005

The color key concept is based on three facts and will completely eliminate guess work for color selections. Fact-1: Each person during their early teens form color preferences that will remain consistent during their lifetime. Most of you will feel more comfortable with one or the other... There are different Blues... Reds... Yellows... Browns... Greens, etc. ...You will find that your skin tone, eye and hair color appear in your preferred Color Key palette.... Key-1 people have a rosy undertone complexion and Key-2 people have a more peachy undertone complexion... This skin tone difference is present in all nationalities... Even our eye and hair color can be found in either key Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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© Bill Abey 2004

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Fact 2: The color of anything we see is made from five basic primary colors, Red, Blue, Yellow, Black and White... Key-1 has more Blue and Key-2 has more yellow...

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Fact 3: The color key spectrum has been separated into Key - 1 & 2 pallets... All the colors in Key-1 are suitable for use in multiples with each other... The same holds true for colors in Key - 2.

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The only mistake you can make is to combine colors from the two keys

This Color Key Information was provided from a printed consumer flyer created by AMERITONE COLOR KEY PAINT 1975

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005

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Key - 1 Color Swatch

...More Blue

Remember you can’t mix Key one and Key two colors in the same pallet... You can mix different colors within key two pallet together and different colors in Key one pallet together z

Key - 2 Color Swatch

... More Yellow

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© Bill Abey 2004

Help Me Say No to Good So I Can Say

Yes to Great... Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected] ♦ Backgrounds by

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March 2005

Going from Good to

Great There is a new book out on Going from Good to Great by Jim Collins

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© Bill Abey 2004 Steps to Greatness z z z z

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Provide customers with images they can’t create Place greater emphasis on Great Photography Determine what business you are in Give customers a selection of poses and expressions... Many will buy two or more if given the opportunity... It will increase sales of multiple orders... It also changes the customers’ mind set from to buy or not buy to what do I want to select. We see horizontally, Offer horizontal images Change Print sizes

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Compelling Reasons To Change Print Sizes z

The human eye sees 55 degrees horizontally.... And 34 degrees vertically 55÷34 = 1.6… Note: The 1.6 aspect ratio It's called the Golden Rule, or the rule of Divine Proportions

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New TV and movie screens use a similar format

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Change to the 2 to 3 proportions 35mm format

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Print sizes: 2x3_4x6_6x9_8x12_10x15_12x18_14x21_16x24_ 18x27-20x30_ 22x33_ 24x36_28x42_30x45…

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All of these sizes have a 1.5 aspect ratio

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4x6 is the most popular selling frame

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Cropping of all sizes will be the same

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© Bill Abey 2004

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Technical - Equipment Accent & background light: JTL mini spots #J110 with barn doors used for accent lights hair light and sometimes as a main light Accent Light: JTL Mini Spot # J110 with grid Accent Light JTL #J110 with grid with Rosco chocolate gel #99 Main & Fill Light: 2- JTL Versilight #2200 with JTL 48x32 # 2526 soft box Hair Accent Light: JTL #J110 with 12x12 Soft Box or JTL 10x36 # 2522 Note: JTL web sight is www.jtlcorp.com

...Available from Denny Mfg.

Camera ● Canon 20D ● Photographed hand held except for family’s

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© Bill Abey 2004 The following vendors have supplied the following equipment z

Denny: All JTL Lighting equipment and light stands listed on equipment list

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Photogenic: Grids for use on the Mini lights

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Norman/Photo Control: AC/DC Light, Digital read-out lights and Octagon soft-boxes

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March 2005 z

Technical- Set up

No. One & Two are JTL accent lights with grids and most of the time a #99 Rosco chocolate gel is used ● The lights are set to the fill light exposure

No. Three is a soft box with a JTL mini light set to the fill light exposure... Note a grid with 99 Rosco gel is also used z No. Four is a JTL mini light used with a grid to light the background when needed ● This light is set for fill light exposure ● When a gel is used it is set on high and moved as close as possible to the background z This light is also used as a main light with a grid or barn doors When used in this position it is set for the main light exposure z No. Five is the Main Light ● Set to f-5.65 z

Lighting Setup... z

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Background

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No. Six is the fill light ● Set to f-4.5 The subject is about 4-5 five feet from the background and the combined reading is f-8.0 z The main and fill light switch sides when photographing key left and right z The radio slave is connected to the fill light z The accent lights are at eye height on the main light side and 7’high on the fill light side z

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© Bill Abey 2004 Lighting: Setting the Exposure Note: With film we exposed for the shadows and with digital we expose for the highlights

What do you want your ISO, F-Stop and Ratio to be? I use ISO 100, Lens F-8.0 and Highlight to Shadow ratio of 3:1 My Process for Canon D-20... z

1- Meter Main Light only to F - 5.65

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2. Meter Fill Light only to F- 4.5

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Set Lens to F.8.0... The combined reading with both lights is f-8.0

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Set White balance to Custom in studio and AWB outdoors

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Place ExpoDisc over lens and trip shutter then look at Histogram... I want it to be halfway between the middle/high... If it too high I will move back from the light and if it’s too low I will move closer to the light

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Then I photograph the Macbeth color chart and check the histogram... The histogram should cover the complete range with out any flashing in the white area

ExpoDisc

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Macbeth Color Chart...

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March 2005 Gray Card Macbeth color chart

Histograms

Histogram of Gray Card

Histogram of Macbeth color chart

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© Bill Abey 2004 Lighting ● SetSet-up Process

Backlighting + Main Light

Top hair light only

Top hair light + Accent lights… Modified front facial view

Top hair light + Accent lights… 2/3 facial view

Backlighting + Main + Fill Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 My Favorite Lighting ● Short Loop

The short loop light is the most flattering lighting ▫You light the mask of the face i.e. Forehead, both cheeks, nose and the chin ▫ The highlight in the eyes is 22-o-clock on key right images and 10 oo-clock on key left images ▫ There is an equal amount of highlight area to the left and right right of the nose Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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© Bill Abey 2004 Lighting ● Short Loop z

Light the mask of the face

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Photograph key left & right

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Soft Light = Large light close to subject

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Sharp Light = Small light focusable spot

Sharp…

Soft…

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Split Lighting Set Up • The split light should be at eye height and parallel with the nose • The light can spill across and hit the far eye, but should not spill over on the far cheek • The light should be brought around far enough to eliminate the black eye as in example A • Example B is correct… A short loop light was added over the split light

A

B

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© Bill Abey 2004 Split Lighting Short & Broad

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March 2005 Short & Broad 45° Lighting

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© Bill Abey 2004 Spot Light Effect

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March 2005 Lighting ● Butterfly

Note● Note● This lighting is best used when the subject has been professionally made up and the face shaped with makemake-up Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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© Bill Abey 2004 Lighting Adding a variety of lighting patterns from soft to sharp and short to broad is critical in having your portraits stand out in the market place

Sharp ● Mini-spot Broad split Soft ● Soft box 45° + Short loupe + Reflector Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Sharp ● Mini-spot Butterfly

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March 2005 Lighting Suggestions for photographing on Computer painted backgrounds z

When using the Pictorial Portrait backgrounds I strongly recommend that you allow more space around the top & side of the subject as it gives the portrait a more painterly feel and the subject less crowded. Your base crop lines should remain the same

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You will find an increase in sales if you provide your clients with horizontal portraits as well as vertical portraits... Horizontal portraits should also not be crowded... Give the subject a little more space at the top & side of the subject.

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Expressions and facial views are important and set the mood of the portrait... Try for soft smiles with the mouth open and soft smiles with the mouth closed... AVOID SMIRKS. Avoid direct front facial views... Have the subject’s nose pointed to the left or right of camera

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TEST and print out some images before you start client photography... If you are not pleased with your test results and need assistance call your Denny Consultant or email me at [email protected] • Please

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I also recommend if you are printing from digital files that you use a dark oval vignette set to 15%-20%

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Never place a light directly on the background, Just let the main & Fill light spill over on the background. Also.... Make sure your hair light with a grid & #99 Rosco gel never spills light on the background...

enclose several images

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© Bill Abey 2004 Environmental Portraits in a Digital World Overview... People love environmental portraits... Some of the new digital cameras do a great job of metering and balancing light... As a professional your images have to be better and have a point of difference if you are going to be successful. The best time to photograph outdoor environmental portraits is one-two hours after sunrise and one-two hours before sunset. Overcast days are also a good time for outdoor environmental portraits. Unfortunately this is not always practical... Learning to read the light is a skill that must be acquired over time... Learning to look for the open sky and avoiding high contrast lighting ratios and light traps that make your portraits look like snapshots is a must... There are many ways to photograph outdoors i.e. using subtractive lighting , scrims and reflectors... All are excellent process’ in the hand of a skilled craftsman and in most cases require several assistants and take a bit of time to set-up... I developed the following process to keep it simple consistent and enable the photographer to do it alone. This is a process that will enable you to photograph out doors all day long regardless of the current out door lighting conditions.... Before I get into the process, I want to list the equipment you need to use this process. 1. A Vivitar 285 flash or similar unit that lets you manually control the power of the flash with a quantum type battery that will last most of the day without recharging. You also need to be able to manually change your power from full, too ½, ¼, and 1/8th. 2. A light meter that reads both flash and ambient light. 3. A light stand and mounting bracket to hold the flash on the light stand... The light stand should be able to go 10-11 feet high... Using a 24” umbrella is wonderful unless it’s windy 4. A sand bag to keep the light stand from blowing or falling over. 5. A light weight four step ladder that you can stand on 6. A wireless controller for flash and camera plus a 25’ sync cord in case there is a problem with the wireless unit... Having extra cords are a must... 7. A 20-25’ foot cord to attach to the light stand with several adjustable bolo clips that can be adjusted to different measuring distances. 8. Your camera film or digital should be able to sync with flash at a range of 1/25-1/250 of a second. A zoom lens with image stabilization is preferred. The New Canon 17-85mm is a great choice 9. A large silver and gold reflector too reflect light is helpful but not a must. 10. While I do almost all photography except families hand held, a triode with a quick release is a must have. The triode should be able to go 6-8 feet high

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March 2005 Lighting Environmental Portraits

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© Bill Abey 2004 The Process Overview... I have found that setting my camera to f-8. works best. Plus or minus ½ f-stop is ok. If for example my ambient light reading is 1/125 of a second at f-8.5... I will move my light about 12-18 inches closer to the subject and I will do the opposite if it’s ½ stop less than f-8... The goal is to always keep the lens set to f-8 and change the shutter speed to match the ambient light reading at f-8... The flash must equal the ambient light reading of f-8... The sun should always be at the subjects back if it’s a bright sunny day... If it’s a dull overcast day the light should be hitting the subjects face and the flash should be hitting the subjects face in the same direction as the ambient light. This will give you a 2:1 or 3:1 lighting ratio... Flash set-up 1.

Purchase a nice cord about 1/16th-1/8th in diameter, 20’long and 3 bolo clips. Attach the cord to the top of the light stand... Indoors set your flash to read f-8 at about 15 feet and place a bolo clip to that area on you cord. Cut your flash power in half and move the light in till it reads f8 on your flash meter and place another bolo clip in that area... Note , these settings must be done indoors, The reason for the various setting is some times you can’t have your light 15’ feet from the subject. You can them move you light in to the next bolo mark on the string, cut your power 50% and your flash is still at f-8.

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Pose your subject with the nose pointed slightly to the left or right of the camera and then bring the eyes back to the camera... This will give you better eye expression •

Set the light 6” to the right or left of the subjects nose and 24” above the top of the subjects head at the 15’ string position... If you need to move the light closer to the subject you will need to lower the light 6-12”. This will give you a short loupe lighting... After you get comfortable with this process you can then experiment with different light patterns. Note if you change the direction of the subjects nose you will need to reset the light...

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Take a meter reading and determine what your shutter speed will be for f.8 and set the shutter speed to your meter reading... Be aware that on many occasions the light is constantly changing and you will need to respond to this change.

3. If you are using a digital camera you can view you image and histogram before taking the portrait... You will also be able to zoom in to check you lighting to be sure It's what you expect... Above all practice this on a test subject till you become confident in the technical part of the process... This will then enable you to give 90% of your attention to the subject, composition and the story you want to tell about your subject... 4. Location... The selection of a location is extremely important... Look for areas with depth in the background and dense foliage without light coming through the trees that produce the little circles of light that we call light traps/distractions. Remember: Generally speaking the light behind the subject that is visible to the camera should never be more than 1 stop greater than the light hitting the subjects face. It’s best if it’s one stop less than the light hitting the subjects face. Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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March 2005

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© Bill Abey 2004 The Posing Process z

Set the background and background light if one is being used

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Check the face perspective/structure for best side to photograph

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Set the pose and direct the eyes where to look z

Learn to direct and avoid touching... If necessary to touch ask for permission

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Keep the posing natural

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Set the lighting

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Check for detail

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Set the camera including camera height and compose portrait z

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This may mean moving a little to the left or right of the center line

Obtain the expression in eyes and mouth Photograph the portrait

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March 2005 Basic Elements of Body Positions Applies to all Poses Sit up straight and lean forward from waist z

The heavier the subject the more the forward lean

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Looking from the side... The face, body and hands should be in a straight vertical line • Body and camera plane should be parallel

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Project chin outward... Note: The plane of the face should be parallel with the back of camera

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Direct slight head tip

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The eye closest to the camera is slightly higher

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Set eye direction ● Eyes follow the nose and come slightly back toward camera, in most every pose

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© Bill Abey 2004 Basic Additional Pose Elements Applies to all Poses z

Front facial plane is parallel to back of camera

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Direct eye expression with your hand

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Direct mouth expression with your voice

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Applies to all posing from extreme close-up to full length

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Look at both eyes and mouth expressions before creating the portrait

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Stand on the side of the camera where the subject’s nose is pointing Note you can not look at the eyes and mouth at the same time Make sure both the eye expression/direction and the mouth expression are exactly what you want before creating the portrait

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March 2005 Body Position One & Two

Position One

Position Two

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© Bill Abey 2004 Body Positions ● Foundation for all Posing

Position One

Position Two

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March 2005

“S” & “C” Head tips Guideline... Anything there are two of should be at different heights i.e. Hands, Eyes, Ears...

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© Bill Abey 2004 S & C Head Tips for Body ● Position One

S Tip … Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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March 2005 S & C Head Tips for Body Position One & Two

S-Tip • Body position two

C-Tip • Body position One S-Tip • Body position one Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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© Bill Abey 2004 C & S Head Position ● Body Position Two ● Key Right

S Tip

C Tip

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March 2005 S & C Head Positions ● Body Position Two • Key Left

S Tip

C Tip

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Facial Perspective z

One eye is smaller

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Mouth & eyes are not Parallel

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Main light should be on the small eye side

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Part in hair is usually on small eye side

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Small eye should be farther from the camera

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© Bill Abey 2004 Key Left Facial Views Number one body position

Three Quarter

Two Thirds

Direct Front Modified Front

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March 2005 Key Right Facial Views Number two body position

Modified Front Three Quarter

Direct Front

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Profile

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© Bill Abey 2004

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March 2005

Viewpoint

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© Bill Abey 2004 Camera Position Head & Shoulder Portraits z

The lens position is at eye or top of head position Note: I prefer top of head

z

Camera is angled slightly downward

z

Face is tilted slightly upward to match the plane of the back of camera

z

Line camera, subject, hair light to center of background Then move camera 3” to the Shadow Side

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Traditional Camera Position Head & Shoulder Portraits Horizontal head & shoulder portraits are more flattering than vertical head and shoulder portraits

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© Bill Abey 2004 Camera Position Extreme Close-up z

The lens position is at eye or top of head

z

Note: I prefer top of head

z

Camera is angled slightly downward

z

Face is tilted slightly upward to match the plane of the back of camera

z

Line camera, subject, hair light to center of background Then move camera 3” to the Shadow Side

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Traditional Camera Position Extreme Close-up

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© Bill Abey 2004 Camera Position ● Three Quarter Portraits z

The normal lens position is chin to top of head I prefer the higher camera position

z

It is very permissible on overweight subjects to sit them on the floor and have the camera be higher than top of hair

z

The subject must bring the chin up so the front planes of the face and back of camera are parallel

z

Line camera, subject, hair-light to center of background Then move camera 3” to the Shadow Side

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March 2005 Traditional Camera Position... Three Quarter Portraits

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© Bill Abey 2004 Traditional Camera Position Full Length Portraits ● Chest to Eye Height Note: I prefer eye height

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Camera Position Full Length Poses z

The lens position should be at eye height

z

Lowering the camera will make the subject appear taller

z

Raising the camera will make the subject appear shorter

z

Sitting the subject on the floor and raising the lens to top of head or higher will make the customer appear less heavy

z

Line camera, subject, hair light to center of background

Top of head

Then move camera 3” to the Shadow Side From a ladder Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

From the floor

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© Bill Abey 2004 Camera Height Variations

From floor

Eye Height

A variety in Camera height tells different stories From floor

From a ladder looking down

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March 2005 Camera Viewpoint Variations

From the floor Top of head

From the floor Top of head

Standing over subject top of head

From the floor Top of head

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March 2005 Telling the story with eye involvement

Involvement One

Involvement Three

Eyes are involved three ways

Involvement Two

1. With the camera 2. With nature or activity 3. With another person

Involvement Two

Involvement One

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© Bill Abey 2004 Eye Expression Eye direction and eye expression are the most over looked elements in the portrait process… While both of these images are acceptable the image on the right has more life and vitality than the image on the left To insure the eye expression is correct… Always direct the eyes with your hand and the mouth expression with your voice Remember: You can’t look at the eyes and the mouth at the same time… You need to look back and forth from eyes to mouth till you have exactly what you want before you create the portrait Eye expression is better in this image

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 You cannot look at the eyes & mouth at the same time… Look at each separately… Direct the eye expression and direction with your hand and the mouth expression with your voice Controlling and directing facial views ...and the eye/mouth expression is a Huge & necessary step

Involved with camera

...in the journey going from good to great

Involved with something or someone other than the camera

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© Bill Abey 2004 Eye Involvement

Involved with camera

Non - involvement

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005

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© Bill Abey 2004 Expression Variety and Involvement Color Code Green: With nature Red: No involvement Gold: with camera

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March 2005 Expression Variety

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© Bill Abey 2004

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005

Rule of Thirds

Composition Key areas of composition

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© Bill Abey 2004

Rule of thirds Interpellations...

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 About Horizontal images z

Horizontal images are great sellers and are the most flattering head & shoulder portraits

z

We see horizontally • The added background space makes the portrait more pictorial

z

Horizontal head & shoulder portraits make subjects appear less heavy

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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© Bill Abey 2004

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Background Guide Chart For Complete information see page 104 & 105 in the 2005 Denny Catalogue z

10’ wide X 18’ Long z

z

8” wide by 16’ Long z

z

Almost the same as the 10’wide except you are more limited on group size

7’ wide X 14’ Long z

z

Most Versatile... Great for groups, adults, children photographed Close-up to full length

Good for elementary through adult including some standing full length and seated horizontal poses

6’ wide by 12’ long z

Great for Preschool and elementary grades and three-quarter posed seated adults

Note: Great backgrounds are an investment... Adding the floor area increases posing possibilities and maximizes your investment... Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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© Bill Abey 2004

siz

e

id gu

& lo ta nd a u o C gr 5 ck 00 a 2 B y nn De

e

e gu

10 ge a p

4

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005

Den

ny

ize &s d n ou kgr 105 Bac e age d p i u g ue log ata C 5 200

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© Bill Abey 2004

z

°

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Customer Input Script Controlling Customer Expectations z

Ask customer... What One Pose would be Your Favorite?

z

Would You Prefer Your Portrait to Be Smiling or Somewhat Pensive? Or Would You Like Both?

z

What is Your Favorite Background in this Outfit?

z

Ask these Questions for Each Outfit

z

Add Your Input for the Other Poses and Backgrounds z

z

How many poses should be in the script? Minimum of 5-8 per outfit

Note: Never have the customer select more that one pose per outfit... If you do you are setting yourself up for a possible failure... Also write down the pose they want

“Remember y The heart can’t desire what the eye can’t see”

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© Bill Abey 2004 Clothing Guideline z

Clothing Guidelines

z

Overview:

z

These guidelines are for male & female subjects of all ages. This is not a fashion shoot; this is a Portrait session with emphasis on the subject with the clothing and background blending in color harmony...

z

Denny Mfg. Creates backgrounds for portrait and commercial photographers all over the world. The images may be used in the Denny catalogue, Web pages, professional presentations and miscellaneous promotional materials.

z

As we photograph on different backgrounds, we try to match the color of the clothing to the colors in the background. The guidelines we are recommending are what professional portrait photographers would be recommending to their customers, during a portrait consultation prior to photography.

z

Unfortunately we need you to bring a variety of clothing colors and styles because we do not know what backgrounds will be used till the day of photography. We expect you to arrive with make-up and hair styled ready for photography.

z

All photography is done with impeccably good taste

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Clothing Guidelines Continued General guidelines z

Plain clothes with long sleeves are best. Very small prints are OK; avoid strips and bold prints

z

Match tops\shirts, & slacks/skirts in a variety of colors, primary colors and earth tones from light to dark. This will cover all the seasons

z

Colored slacks & skirt, in Black, Blue, Brown, Tan, Olive, Beige, and off white, are good combinations...

z

Jeans in different colors and styles as well as matching jean jackets are terrific.

z

Girls, please bring fewer tight mini skirts. long skirts are preferred,

z

Crew and V-necks photograph best.

z

Clothing style should be a mixture of dressy and casual, and even semi formal.

z

Matching jewelry is great

z

Miscellaneous; Hats are great, personal props that are meaningful to the subject i.e. toy, stuffed animal, musical instrument, sport outfits etc.

z

Guys, Sport jackets with crew necks photograph well

z

Must items for all ; Jeans, black slacks, brown slacks, and a variety of solid colored tops is a variety of colors with long sleeves, with shoes to blend, no tennis shoes unless you are bring athletic sport outfits i.e. Cheerleader, baseball etc. Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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© Bill Abey 2004 Senior Photography Pose Script Remember the HEART can’t desire what the eye can’t see... z

Photograph a minimum of 5-8 poses in each outfit

z

Photograph subject key left & right

z

Do a mixture of poses... i.e. head & shoulder, three quarter, full length and close up in vertical and horizontal formats in each outfit

z

Photograph a mixture of body positions, facial views and backgrounds in each outfit

z

Provide a variety of expressions in each outfit

z

Match color of background to color of clothing and always include a red background and a white background

z

Flow posing from full length to extreme close up and with vertical & horizontal images can save time and increase variety

z

Since we see horizontally we should photograph a minimum of 30%40% horizontal Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 t Scrip hool c S e & Pr

s rclas Unde Customer

Input Script for Take Home Flyer Controlling Customer Expectations

z

Ask Customer... What One Pose would be Your Favorite?

z

Would You Prefer Your Portrait to Be Smiling or Somewhat Pensive? Or Would You Like Both? • Select the Two Pose Selection Box

z

What Background is Your Favorite in this Outfit?

z

Would You like a Two Pose Selection in your Collection

z

Would You Prefer Shoes on or Bare Feet

Remember y The heart can’t desire what the eye can’t see

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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© Bill Abey 2004 About Photography Scripts Putting it all together with a variety of... z

Posing

z

Body views

z

Lighting

z

Eye & mouth expression

z

Facial views

z

Backgrounds & Props

z

Composition

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 CP6107 20’x9’ with matching floor for indoor groups

Bring the outdoors indoors • Improves consistency • Custom sizes available for smaller groups • Eliminates weather problems • Need heavy duty light stands for background & lights that can go to 11’ high • Need 2-large light sources one on each side of camera • Light source must be high enough to eliminate background shadows • Test & define process/setup Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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© Bill Abey 2004 CP6146 All Around Sports

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005

CP6165 Local Field

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© Bill Abey 2004 New

CP6181 Crowded Goal

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 All Sports

CP6146

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© Bill Abey 2004 CP6149 All Sports

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 CP6149 All Sports

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© Bill Abey 2004 CP6181 Crowded Goal

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March 2005 Make them look like a star... Sell them Poster size prints ...

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© Bill Abey 2004 It’s not as easy with the little tikes but it’s still doable.

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Basketball

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© Bill Abey 2004 The heart can’t desire what the eye can’t see

CP 6099 Free Throw Remember we see horizontally

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Story telling images build sales...

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© Bill Abey 2004

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005 Using School Colors to Create a Competitive Advantage

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© Bill Abey 2004 Page 32-35 in 2005 Catalogue

Using school colors as a competitive advantage...

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March 2005 Page 32-35 in 2005 Catalogue

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© Bill Abey 2004

2005 Block

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Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

March 2005

2005

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© Bill Abey 2004 Waterfall

CP6096

Photography and presentation by Bill Abey M.Photog. CR. ASP · [email protected]

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