LF portraiture - how to keep the model in focus?

[clack]

Hello,<p>

I recently tried my first portraiture shots with the view camera

(4x5") and found it very hard for the model to keep motionless after

composing and focusing was done and the film holder is inserted -

especially when using wide apertures. Perhaps some professional models

can sit for minutes without even blinking their eyes, but it's almost

impossible for amateurs, I believe.<p>

Of course I can pose the models in a way that makes it almost

impossible for them to move out of DOF, i.e. leaning them against a

wall, make them sit in an armchair with a high back etc., but all this

looks quite static, I believe.<p>

Do you know any "tricks" to solve this problem? Would also like to see

some of your portraits!<p>

Regards,<p>

Thom@s

[david_goldfarb]

Some people use a string to check the distance from the lens to the nose.

 

A variation on that theme is to use a slide projector that will project a thin line of light from the side of the subject at the plane of focus. If you use strobes, they will be much brighter than the light from the projector. Some people use laser pointers for this, but I'd be worried about safety.

 

Another option is to use more light and stop down.

 

Another option is to use a camera with a rangefinder, or an SLR or TLR, so you can focus with the film in the back.

[jean-louis llech]

Just do it with a Linhof Master Technika.<br>One of the most highly accurate rangefinders I've ever used (90mm base, twice a Leica's one).<br> You can leave a roll-film, a sheet-film or a Polaroid back while focusing...

[scott_walton2]

With a long lens, the DOF is so small you really need strobes... if you go with a

wider lens, say a 180mm or 150mm and stop down to f11 you should be ok.

You can always rack the lens out after to put the bottom or top out of focus or

use vignettes to diffuse the outer ring if you choose...

[david_goldfarb]

One more: Shoot more film. Yeah, you'll lose some good poses, but no one else has to know about the ones that go in the circular file.

 

This is what I do with 8x10" (since my 8x10" camera doesn't have a rangefinder, and the string thing feels silly to me, and I don't have a slide projector at the moment), and I like particularly short DOF.

[george losse]

Thomas,

 

Shooting portraits with large format has some drawbacks, I do a lot of figure work with the 8x10. Small apertures can give a nice effect to highlight the short DOF. That is an effect that a number of people have used very nicely. I don't like that effect for my own work. I use strobes and I normally shoot at f45 with faster film.

 

There is also the use of the movements in the camera that can help bring some shoots more into focus. This is a touchy thing as most of the time the use of movements will distort the subject some.

 

When I started using the camera I was having trouble focusing. I would have the model hold a large bolt so I could focus on it. Later I began to see where I needed to focus the get the whole subject in focus when stopped down.

 

Last thing I would say if you want to avoid the thought of static types of poses. Then look through the ground glass to determine when the subject is and where they can move to with going out of the frame and them come out from behind the camera and start shooting allowing the subject some mobility. Just shoot more film as this type of shooting has a much lower success rate.

 

I hope this helps,

George Losse

http://www.georgelosse.com

[tedharris]

Two mor etricks to add to all the others ... msot of the time they help.

 

Pre-focusing has already been mentioned but I use two other methods of prefocus.

The first is to use an inanimate object in approximately the same position as your

subject. I ahe a fairly large hard sided suitcase taht works well for this for me ...

especially with my flash meter plopped on top of the case. The second is to use a

stand-in model ... same general principle.

[golliegwillie]

I haven't done much large format portraiture, mostly experimentation of the nature that you've done, and the way I was able to get my models to KEEP STILL! (you might not want to yell at your models) was to pose them from behind a desk. You don't have to include the desk as an element in shot, but it gives the model something to lean into, lounge on, become more relaxed, and even feed off of. People spend an inordinate amount of time posing at their desks while they think no one looking, so it's not as unnatural an environment as it would seem.

Of course it doesn't have to have to be a desk, it could just as easily a table or better yet a posing table. There are many unobstrusive posing aids available to keep models still for long exposures, but a posing table is probably one of the least expensive.

 

I posted a response recently to Wally Hess's question "Enough Light?" where I discussed my experimentation with the exact same problem of keeping models still during the time lag it takes insert the holder, stop down and take the shot.

 

http://www.photo.net/bboard/q-and-a-fetch-msg?msg_id=005Vd0

[michael_chini]

Each shot will have its difficulties. Most of my shots are with my 150 lens and I usually place the subject in some sort of setting (which means a good portion of their body is in the shot so slight movements are irrelevant). I took some shots of family members and they were all seated so there was no movement to worry about. With close-ups, you need to use a rangefinder, tell the subject to be still (which can ruin a shot IMO), or live with less-than-perfect DOF. Looking at some of my favorite LF portrait shooters, I notice that they either shoot a good portion of the person either standing/sitting (immobile - ie Strand) etc. or they will live with poor DOF (Avedon). Unless you're shooting a 50 foot billboard - Nike campaign ad, I wouldn't worry about imperfections. A great shot is a great shot.

[ralph_barker]

<p>The simple solution: cast iron body clamps. ;-) </p>

<center>

<img src="http://www.rbarkerphoto.com/travel/munchen-old-studio-600matte.jpg">

</center>

As mentioned, giving the subject something to rest their arms on helps keep them in one spot. Alternatively, a rigid chair with a small back (small enough not to be visible) helps, too. I just explain what types of movements are OK (head tilts and such), and which are not (forward or backward movement), and most are able to manage. For those who aren't able to keep still, select a pose that will help, such as elbow on knee, hand under chin, etc.

[jay_de_fehr]

I use a combination of some of the techniques mentioned above. If I'll be shooting my subject standing,I use a lightstand adjusted to the appropriate height, and make a mark on the ground directly below the stand. I've found that if my subjects stand with their toes on the mark, I can use a fairly wide aperture and keep the eyes sharp. The lightstand stand-in allows me to do the time consuming set-up work without boring my subjects. When I'm ready, the subject takes his/her mark and I make the exposure. Painless. Seated subject are more difficult, in my experience, because the subject can sway in and out of my DOF with any change in posture, unless they're pinned to the back of the chair, motionless. If I'm shooting a seated subject I try to stop down enough that the entire chair, from the back to the front of the seat are in my DOF, and allow the subject to relax and find a comfortable position without falling out of focus. In the end, I agree with some of the other posters that one should be prepared to shoot more film when shooting portraits.<div></div>

[ray bidegain]

I make the majority of my portraits with an 8 x 10 camera. I find that if you are a reasonable distance from your subject f/8 or f/11 will give plenty of DOF with a 300mm lens. I put the model in the space and light I want to use then let them find their way. Once settled I focus the camera then look at them directly to see where they are in the set. When I am ready to make the exposure I can tell if they are in the same plane or not, if not I wait till they find their way back.

 

Ray Bidegain

http://www.rbstudio.com

[tim_curry]

Don't forget humor while setting up and focusing, it is a great relaxer.

 

"Is the glare from my bald head bothering you?"

 

"Do you mind if I use duct tape to keep the kids still? I have a roll in the car and I won't charge extra."

 

If you are nervous, they will be nervous.

[wieslaw1]

I do not have a problem in taking studio portraits in focus with a 4x5 camera. Never used any supports, but of course I shoot maybe a dozen negatives, not for focusing sake, however, rather for the expression I am looking for. Just focus, replace the cassette and shoot. But I want large depth of field so I stop down to 22/32. You need a powerful strobe, though. You can see examples posted under my name in this forum. Some were taken with Sinar, some with Hasselblad, and some with Pentacon six. I now have LT but at present I unmounted the range finder. I keep the cammed lenses just for that studio work if needed.

[ian_greant]

Hello Thomas (and everyone else) <p>

 

I too have started using my LF in my portrait sessions. I haven't shot anything quite wide open yet but did shoot a group of 5 at F16. Wasn't a real problem.. In fact I'm quite sure I could have opened to F11.

<p>

My biggest "trick" is (as someone else suggested) to merely watch someone closely to see how and when they move. The trick is to click the shutter when the move into your focus range. I use this technique a bit when shooting bands and singers in low light MF or 35mm <p>

Since you asked for samples I attached one of my first LF portraits (recent) apologies for bad scan.<div></div>