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and have the kids plop down on them. In Figure 3.12, for example, I used sofa cushions, placing them next to a sliding glass door to take advantage of strong window lighting.
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For a family grouping,
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a plain wall or curtain can provide a nice backdrop. If you use a curtained window as the background during daylight hours, however, you may need to adjust your FIGURE 3.12 exposure to account for backlighting, as covered in the later section Outdoor Portraits.
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Sofa cushions placed next to a sliding glass door provided a great backdrop for this snapshot.
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At night, you will need to use a flash even if you switch on room lighting. If your
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camera offers slow-sync flash or slow-sync red-eye flash, switching to that mode will help brighten the background. ( 6 has details.) That s assuming the background is worth showing if it s not, leave the flash in regular mode or red-eye mode, and your background will appear dark.
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Speaking of red-eye flash mode, warn your subjects that they will see two
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bursts of light, and that the second one indicates that the flash has fired. The first light appears to constrict the subject s pupils slightly, which helps reduce red-eye. (See the Technical Aside sidebar What Causes Red-Eye earlier in this chapter.) If you don t give people this warning, they will think that the preflash is the real flash and stop smiling or move before the picture is actually recorded.
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Don t always insist that people face the camera and say cheese. Instead, look
for opportunities to catch a subject enjoying an everyday activity, which almost always offers a truer reflection of a subject s personality and is infinitely more interesting. Also, capturing interaction between people tells more about their relationship than the typical shoulder-to-shoulder arrangement that most people use for their family photos.
If you re trying to photograph very young children, fire the flash a few times
before you really get serious so that they can get used to your presence. After a while, they ll forget that you re there, and you can capture them doing what they do best: being kids.
Even though I ve just spent several pages offering advice about how to improve your own home portraits, don t write off the idea of working with a professional portrait photographer every now and then, especially for important occasions such as an anniversary or engagement. In addition to years of technical expertise, a skilled professional can bring artistic ideas to the table that you may not have considered. And a professional portrait may offer the only opportunity for you to get in the picture instead of standing behind the camera!
CHAPTER 3: Taking Memorable Portraits
How To
REMOVE RED-EYE
Almost every photo-editing program offers an automated red-eye removal tool. Too bad these tools hardly ever work well. The good news is that doing the job on your own is probably even easier than working with the automated tools. Here s how to do it in Adobe Photoshop Elements 2.0:
1. Duplicate the background image layer so that if you mess up, you can easily return the image to its original state. Just open the Layers palette and drag the background layer to the new layer icon, labeled in Figure 3.13.
Sponge tool FIGURE 3.13
New layer icon Working on a duplicate image layer, first use the Sponge tool to desaturate the red pixels.
2. Select the Sponge tool from the toolbox. 3. On the Options bar, set the Mode control to Desaturate and the Flow setting to 100 percent, as shown in the figure.
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How To
REMOVE RED-EYE (continued)
4. Choose a small, hard-edged brush. The brush should be smaller than the red-eye area you want to correct.
5. Click or drag over the red-eye pixels. The program sucks the color out of the pixels you touch, leaving them white, black, or gray. 6. Create a new, empty layer by clicking the new layer icon in the Layers palette. This layer will hold your new eye color. Set the layer blending mode to Color by using the menu at the top of the Layers palette, as shown in Figure 3.14.
Foreground color icon Paintbrush FIGURE 3.14 Paint in the correct eye color on a separate layer set to the Color blending mode.
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