What "ideal" kit for daylight portrait work?

[tom leoni]

OK - Camera is M3 with Elmarit M 90 2.8 w/UV filter. I also have a

Hektor 135 f4.5 with bayonet adaptor and Vivitar 283 flash unit (for

fill-in).

 

What do I need in the way of filters or other equipment to have a

decent workable kit for available-light portrait work - individuals

or groups?

 

Tom

[michael_kastner]

I prefer my Tele-Elmarit Thin, maybe even a 2/75 would be better (75 Lux would do the trick, although I don't like and/or need it's physical properties).

<br>Tripod and cable-release.

[Jochen_S]

Reflector panels? Zeiss Softar filters? Orange, (yellowish)green filter?

[peter_yankin]

Yeah, everything's about buying more lenses.

 

"What do I need in the way of filters or other equipment to have a decent workable kit for available-light portrait work"

 

B&W or color? Indoors or out? Makes a little bit of difference in terms of which filters you might want to try, don't you think? (Or maybe you don't know...sorry if I assumed too much knowledge/experience...a medium-green for outdoor b&w, warming or cooling filters or CC filters for color, depending on the color temp of the light).

 

Outdoors I'd try using a reflector instead of the flash fill. As long as the subject isn't going anywhere it lets you preview the effect, and you're not limited by the Leica's antiquated flash sync speed.

 

The biggest necessities for portraits is knowledge of how to pose and light the subject for the effect you want. Sadly you can't order that from B&H or win it off ebay.

[bob haight]

I don't think he asked about more lenses, just for a

little help. To answer the question, you have a workable kit and you may see no more is necessary. I like a light yellow filter or yellow/green filter for BW and I would avoid midday as the light is harsh, overhead with shadows.

[Troll]

Well I'm sorry, but anyone who has bought a M3 Leica should be expected to already know a lot more than PHD about photography.

[tom leoni]

Well, yes, considering the PHD-price of the camera, it should come with PHD-knowledge instantly transferable to your noggin. ;-)

 

Anyway, if I can (at all) do without buying any additional lenses, is there anything else besides what's already been mentioned that would constitute a "serious beginners' kit"? (BTW, I was referring to both B&W and color portrait pictures - but almost exclusively outdoors with daylight.)

 

Thanks again,

 

Tom

[35mmdelux]

Your kit is fine as is, but you'll need to add something wider for small groups, such as a 50mm or prferably a 35mm lens. By definition, lose the flash if you're going for available light. Its pretty much useless anyway w/ the M3 sync speed, unless you're going to use 25iso film. Instead, consider using a light refector disc and bring a diffusion panel to diffuse bright light as well. Shoot in the shade if possible. That is all you'll need.

 

I would suggest bringing a back-up camera.

 

If on a tight budget, consider the 35mm/3.5 Voighlander.

[frank_meeker]

Tom

 

An assistant holding a big (40" or more) works very well. Shoot the person in the shade under a deep overhang and have the assistant stand off quite a bit (if bright outside) and bounce some light into the overall image area. For most purposes, a spotlight effect, made by using a small reflector up close, is best to be avoided. Alternately, shoot them indoors next to a window and fill from the opposite side with a reflector (it's ok to use a smaller one in this case).

 

Regards,

 

Frank M.

[tom leoni]

Paul, could I abuse your kindness with two follow-up questions? ;-)

 

1 - Another poster (Peter) hinted at issues with the M3 flash sync. Could you explain to me in a few words what these are?

 

2 - Good point about the wider-angle (I have a 50mm Summicron). What is the main function of the backup camera you recommend?

 

Point taken about the light reflector vs. fill-in flash if "natural light" is supposed to be just such.

 

Thank you again for taking the time.

 

Tom

[tom leoni]

Thanks, Frank!

[jean_.]

Both lenses are good, the rest remains on what kind of pictures you're after. Personally, I'd

prefer the Hektor's smaller DOF to separate the subject from the background.

 

Depending on what level your experience is, I'd skip the flash and reflector part and stick to

natural lighting. Fiddling with flash and reflectors can be a show-stopper and annoy the

model if you don't have the routine, and if you're not a pro that HAS to shoot on that day at

that location, it's better to look for a less contrasty light.

[Uhooru]

Along with using reflectors, you might want a nice Pentax digital spotmeter so you can set up your lighting ratios accurately.

Good luck.

[paul_neuthaler]

Your M3 & 90mm 2.8 Elmarit will go as far as you ever can re: portraits. Sure, use a UV or a light yellow or even an orange -- but you've got all the gear you need.

[paul_neuthaler]

. . . unless you need more!

[working camera]

Before you take on Peteﾒs and Paulﾒs good advice, put your lenses away and got out and observe. Then observe some more and when you've observed, continue to do so.

 

Only then should you observe through the camera and practice and practice etc, as was said above.

 

For daylight B+W film.Light yellow filter sometimes (mainly for under strong blue skylight) and light blue filter for skin tones in yellowish coloured light.

 

With colour stock especially beware of under trees, can give strong cyan cast.

 

Comes down to observing the colour of the light, and then applying the correct filter.

 

Always observing, get the picture. After that the perfect kit is what you have on hand. I use every thing from 28mm up to 135.

[jd_rose]

A super hot model helps quite a bit too.

[dennis lee]

Tom, a 50 will be very helpful, and the Dual Range summicrons are very nice

and probably somewhat affordable.

 

Take a look at the work of Rodney Smith. He made quite a name for himself

in the early ninety's doing B&W portraits in available light. He carried no

lights and had a Leica with a 50 (plus a back-up I'm sure) and a Hasselblad

with an 80. That's it, two cameras, both with a normal lens. I actually think he

may have started with the Leica and then moved up to Hasselblad. The guy

was HUGE!!!!!!!!! I mean famous, famous, famous in the photo world. Don't

know what he's doing now, but he certainly proved that it can be done.

 

I've been trying the same thing myself lately and the biggest problem I'm

having is the available light. You plan and schedule, the day arrives and the

light sucks, or the location sucks, or the people don't last through your

searching for the proper light/scene. The problem with avialable light is that

you find yourself (at least I have) showing up at some one's home, and not

only do you have to find a good location in a new environ. but good light as

well. It can really use up a lot of energy. For you and your subject. I've been

doing families, so I usually grab mom, or one of the kids and go scouting. We

find the location then drag the rest of them in. With any luck, the light has

remained the same....and a group looks as good in the spot as the individual

did.

 

I've made some great portraits with my M cameras, but they really leave a lot

to be desired for this type of work. Background is sooooo important, and one

white highlight, which you won't see in the M finder can and will kill your shot.

I will often start with the Nikon and a 50, just so I can see my background. The

plan is once I have something 'good' in the 'can,' I can go experiment. The

truth is that we seldom get to that point. I have yet to do a Leica shot in this

lateset foray.

 

Shoot a lot, and move around in the scene. When you nail it with the Leica

you kind of feel it, because it is such an intuitive tool. If you don't 'feel it,' keep

shooting. 35mm film is cheap, going back for a re-shoot......uuuuugh.

 

A reflector is a great idea but really requires an assistant. A great find is a

beautiful white wall on some one's house upon which light is hitting. Have

your subject face this huge reflector, and if they are now backlit it's even

better, shade your lens and shoot concentrating on expression and

background. Your wall reflector will usually give a beautiful light, especially if

you can have it bouncing onto your subject in open shade.

 

Peter A nailed it, shoot, shoot, shoot. The learning curve can be very steep,

but a few good shots will make all the goof ups feel a lot better. Do a lot of

Gratis work for your own development and portfolio. Oh and the window light

which somebody else mentioned is like studio in a box. Keep this in mind too,

Rembrandt light comes form the NORTH.<div></div>

[dennis lee]

Ahhhhh, a super hot model would be great!

[nee_sung]

The most important equipment is the tripod.

 

The second most important equipment is a lens-hood. It becomes the first if you are hand-holding.

 

Keep the camera level. Use a spirit level if you can. That will avoid adding distortion to the lens's own.

 

If the model is your customer/recipient of photo, shoot with the lens pointing at his/her eye level. That is the height they normally see themselves in the mirror, and they will therefore find these photos particularly pleasing.

 

There is a significant difference between models as subjects and models as humans. Decide which is your intention and go from there.

[blakley]

Taken without a tripod, without lights, without lenshood, and without level - none of which is really important for outdoor portraits. IMO the MOST important aspect of a portrait kit is the ability to get close (head & shoulders) at a WIDE aperture; f/2 at least and preferably f/1.4.<div></div>

[blakley]

Taken with a Noctilux wide open, handheld, no tripod, no lens shade, no level. I don't like to shoot in light so harsh that a lens shade is an issue. Shade or overcast is much more flattering - or indoors near a window.<div></div>

[blakley]

By the way, note the white highlights in the background of the second image. They don't spoil the image at all (though they would be very distracting if they weren't nicely out of focus). Even if they did they could be retouched out.

 

Get a lens with good ..... yes I'm gonna say it guys ..... bokeh, because jangly out-of-focus highlights will draw the viewer's eye away from the portrait subject.

[tom leoni]

Dennis,

 

Thank you for your advice. I have followed your suggestion and checked out some of the Rodney Smith portfolios - boy, I can see why you are a fan. I have also taken a look at your work and if I could take pictures one tenth as good as yours, I would call myself very happy! Yes - all the equipment in the world cannot compensate for lack of experience (alas); but I am trying to shoot as much as possible, even in spite of the truly awful and DARK weather we've had in Virginia of late...

 

Bob, I love the color portrait (the model being very good-looking helps...).

 

Speaking of 50mm lenses used for what I would call a conventional portrait (i.e. head & shoulders), is there a preferred method of filling the frame? In other words, is it preferable to get close to the subject (while trying to avoid the fish-eye-lens effect) or rely on image cropping?

 

Tom

[djphoto]

Is this the Rodney Smith referenced above?

 

http://www.rodneysmith.com/