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November 20, 2009 |
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Created and Maintained by: The Photoimaging Information Council |
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Alice B. Miller |
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 Q: How did you get started putting together Sculpting with Light: Techniques for Portrait Photographers? A: In 2006, Amherst Media saw an article I had written for Studio Photography magazine called “Sculpting People with Light” and asked if I would write a book on the subject. I researched many photography lighting books to see what others had done and not done and decided to write a textbook for portrait photographers on everything I had learned—the book I wish I had had 25 years earlier. I approached each section of the book as if I were teaching one of my photography or lighting classes. Q: What are some highlights of your book? A: I would say the sections that explore the physics of light, color, and metering, and how to light different facial shapes—oval, square, long, round, etc. Lighting facial shapes has never been presented at length, with images illustrating the final images, the ‘bad’ images, and how to make them successful. Most lighting books show a final image and a diagram illustrating how the image was made. I decided that showing the difference between a bad photo and a good photo would be helpful. I’m all about getting back to seeing the light and creating images, rather than merely snapping a photo. Q: Please share a few of your favorite tips for capturing dramatic portraits. A: Sure. (1) Use accent or kicker lights to highlight the cheek and hair; (2) Place reflectors and gobos between the light source and subject to subtract light and enhance sculpting of the face; (3) You don’t need a lot of fancy equipment to produce sculpted photos on the fly—just a solid foundation in lighting and practice, practice, practice. Offer to photograph your friends and their friends for free to gain experience; (4) Most subjects aren’t comfortable in front of the camera, so compliment them and keep the sessions positive, happy, and fun. Q: Please describe the creation of a few of your favorite images. o Captured in 1989 with a Bronica SQAM, 80mm lens, Fujifilm 120 film, and a Sunpak 520 flash as fill, the image marked the beginning of my sculpting with light. Developing the image from a dream I had, I hired a model, had mirrors cut, and went to the sand dunes in El Paso, Texas. Made in pre-Photoshop days, when I showed the image to a pro more recently, he said, “horrible Photoshop job.” Learning it was from a single negative, his jaw dropped and he stammered, “That’s unbelievable.” I will use Photoshop as a darkroom tool or enhancing tool, as in the final image produced using Kubota Imaging Artistic Tools Volume 2 Photoshop actions.  o I shot this wedding portrait in Arizona in 2004 with my Nikon F100, Nikkor 28-105mm lens, and Fujifilm NPH, in manual mode with available light. Bride Misty Nink was standing under an overhang at the reception hall, with light bouncing back from a wall to her right. I asked Ryan, the groom, a tall young man, to stand to her right to block the reflected light. In a black tux, Ryan became a human gobo, subtracting light from my subject. The final image shows subtle sculpting on her right cheek.  This image of Brazilian belly dancer Luciana M. DaSilva was taken in fall 2007 with a Nikon D200, Nikkor 80-200mm f /2.8 lens, Hensel lights and modifiers, and Lexar Media storage card. She commissioned me to create photos to promote her belly dancing service, than surprised me by saying, “I will not pose for you, but I will dance as you take photos.” Although this made my job more difficult, we wound up creating this portrait, which lets her inner light shine through.  This photo was shot in summer 2007 to illustrate the long lost art of Light Painting by using a simple Inova flashlight to sculpt, or light, select areas of the photograph. Model and friend Irena Murphy had to sit still for the entire 30-second exposure. Even a blink would ruin the photograph. Shot with my Nikon D200, 28-105mm Nikkor lens, in manual mode, for 30 seconds at f/5.6.  Q: Will you offer workshops or online tips to support your book? A: ASMP Colorado (www.asmpcolorado.org) asked me to present “Sculpting with Light: The Workshop,” where I’ll talk about getting back to basics and present a live photo shoot with professional talent and projected results. I will continue to teach at CCU and offer private lighting classes to companies and individuals. I am currently putting together a series of lighting classes for a local School of Art that will cover everything from basic flash technique to studio lighting of people and products. I am also working on a second book, Sculpting with Light-Advanced Techniques using Light Modifiers. Q: Any suggestions for offer up-and-coming photographers? A: I suggest taking seminars on lighting and metering from individuals who are experienced, and who are willing to share their knowledge. Study the work of photographers whose work you admire, then find your own style and stick with it. “Pay your dues” by photographing people gratis to gain experience and insight. You can Also See Another Interview With Allison Here. Alice B. Miller is the owner of Plum Communications Inc. (www.plumcomm.com), the editorial services and marketing communications company based on Long Island, NY. Previously the editor of Studio Photography magazine, Alice has a growing clientele that includes photographers, manufacturers, publications, and associations. She is director of public relations for the International Photographic Council and an advisory board member of NyghtFalcon commercial, fine art, and wedding studios.
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