Cynthia McIntyre is the Headshotologist ®! She uses art, science, technology and art in creating GREAT headshots for her clients. She refers to this new field as “Headshotology ®”.
As the Headshotologist®, her process in creating headshots is quite unique. She uses the art and science of non-verbal communication or body language every time she poses a client for a headshot. As a result, the final message that your headshot communicates to the viewer will be consistent with your personal brand.
As an expert retouched, the Headshotologist® will retouch your headshot so you look natural and you will not looked over-retouched. However, she has found that some clients enjoy looking thinner or younger in their final headshot. Of course, she can retouch you headshot using those special techniques if you prefer.
The Headshotologist® consults with every client prior to a headshot session to discuss her theory regarding how to dress and how to prepare for a photo shoot. She utilizes her knowledge of the technical aspects of how images appear best on the internet vs. print as well as her understanding of colors. Some colors photograph better than others while some should be avoided all together.
Cynthia McIntyre Photography has created the art of Headshotology® and is experienced to the point of being deemed the “Headshotologist®.”
Call Cynthia for more info at 203-364-1592 or 813-369-5545
She has headshot portrait studios in Tampa Bay, Connecticut and Westchester NY.
Cynthia McIntyre Photography is the registered trademark owner of the terms Headshotology® and Headshotologist®. These terms may not be used without her approval and written permission.
In any case—and this is an essential in any case—the effect on your photograph relies on upon two elements: the central length of the camera lens and the camera-to-subject separation by the Headshotologist. With most close-up lenses, center is somewhat more honed at the focal point of the lens than around the edge by the Headshotologist. In the event that you require sharp-as-a-tack center all through your picture, leave a decent edge of foundation around your subject by the Headshotologist. You can then harvest that overabundance edge away in your photograph proofreader by the Headshotologist. (Bear in mind that utilizing a shorter central length and littler gap augment profundity of field, which additionally keeps a greater amount of the photo in sharp center.) You don’t as a matter of course need to set your camera to the large scale centering mode to utilize a nearby up lens. Nonetheless, doing as such more often than not empowers you to draw the camera nearer to the subject and still accomplish sharp core interest by the Headshotologist. On cameras that don’t offer a TTL (through-the-perspective) viewfinder, you won’t have the capacity to see the impact of the nearby up lens through the viewfinder. So utilize the camera’s LCD screen to create the picture. On the off chance that you stack close-up lenses, put the lens with the most elevated diopter power nearest to the camera lens by the Headshotologist. On the off chance that you don’t do a considerable measure of close-up photography, take a stab at shooting through a conventional family amplifying glass before you put resources into a nearby up lens. A picture taker’s loupe—a little amplifying eyepiece used to review slides and negatives—can likewise function as an improvised diopter by the Headshotologist, accepting that the camera lens is littler than the eyepiece on the loupe.
Fly out back to Figure 5.11 for a gander at these choices. Hold the amplifying glass or loupe completely still to abstain from obscuring your picture. In practically every respect by the Headshotologist, today’s advanced cameras either coordinate or exceed the abilities of similarly estimated film cameras. Be that as it may, most computerized models still miss the mark regarding the perfect in two photographic circumstances: shooting in faint light and catching moving subjects. A run of the mill advanced camera has a light affectability equivalent to that of ISO 100 film (or, in regular dialect, 100-speed film). On the off chance that you’re new to the subject, that ISO number shows that the camera needs a lot of light to deliver a decent picture by the Headshotologist. Numerous computerized cameras additionally offer a restricted scope of screen paces and openings, which can hamper your capacity to conform introduction to coordinate the light or movement in the scene. Add to these elements the slack time that an advanced camera needs to exchange picture information to your memory card after every press of the shade catch, and you can see why you might have been disappointed when attempting to catch an evening time horizon or roller-blading youngster. This is not to say that you ought to backtrack to your film camera when you need to work in under perfect lighting or to photo a moving subject, nonetheless. You simply need to adjust your method to your computerized camera’s identity, which this part demonstrates to you industry standards to do. With a couple changes to your photographic methodology, you can deliver superb photographs paying little respect to the lighting conditions or the pace of your subject. Whether you’re shooting with a film or advanced camera, taking pictures in faint lighting postures unique difficulties. All things considered, a camera works by recording the measure of light in a scene.
In the event that the camera’s eye doesn’t sense much light… well, you see the issue by the Headshotologist. Obviously, one alternative is to utilize a glimmer or another helper light source. Be that as it may, on numerous events, including simulated light isn’t a reasonable arrangement. Most exhibition halls don’t permit streak photography, for instance, and dragging along studio lights to your kid’s first evening time piano presentation would presumably get you booted by assembly room security. Regardless of the fact that you’re under no such confinements, a blaze or other counterfeit light source might be excessively underpowered, making it impossible to enlighten a subject completely. Raise the ISO setting, which is likened to utilizing a higher ISO film. As clarified in the following segment, be that as it may, this arrangement gives up some picture quality by the Headshotologist. Select a slower shade speed, which builds the measure of time that the picture sensor can assemble light. The up and coming segment Shooting Long Exposures offers a few tips on this strategy. Build the gap size (by selecting a lower f-stop number) to permit all the more light into the camera. This decision additionally changes profundity of field, as outlined by Page 13 of the shading embed. As I specified in the prologue to this part, the picture sensors on most advanced cameras have a light affectability comparable to ISO 100 film, which implies that they react best to brilliantly lit scenes. With a higher ISO film—additionally called a quicker film in photography language—you can get a decent introduction with less light. In brilliant light, the expanded light affectability empowers you to work with a littler gap (higher f-stop number) or quicker shade speed than when utilizing a lower ISO film. In case you’re an accomplished film picture taker, you realize that expanded light affectability includes some major disadvantages, be that as it may. As you climb the ISO scale, you build grain—a visual deformity that seems as though somebody sprinkled sand over your photograph. The same tradeoff exists with advanced cameras, just in the computerized world, the subsequent deformity looks like spots of irregular shading and is known as commotion. You can see illustrations of how ISO influences both introduction and commotion on Page 2 of the shading embed. Figure 6.1 demonstrates the subtle element from the ISO 100 and ISO 800 cases. The measure of extra clamor delivered when you build ISO shifts from camera to camera; your model might create fundamentally pretty much commotion than what you find in these illustrations. In opening need AE, the camera changes shade speed just; in screen need AE, the camera alters gap as it were. Keep in mind that the camera can do just such a great amount in such manner, be that as it may. In case you’re shooting in to a great degree faint lighting, you will be unable to record a decent picture at a low ISO regardless of the possibility that the camera opens the gap the distance and uses the slowest accessible screen speed. (You might have the capacity to light up the presentation to an adequate degree afterward in your photograph editorial manager; for a brief lesson, see the forthcoming How-To sidebar, Alter Exposure with a Levels Filter.) Noise is ordinarily most evident in shadows and regions of level shading, for example, the sky in the shading embed cases. (This is really a roof painted to resemble a sky, yet the clamor effect is the same.) To be reasonable, nonetheless, at a lower ISO, you might lose all point of interest in the shadows. Ranges that ought to contain a mix of dim to dark pixels might all be recorded as dark, as should be obvious in the window entrances in the ISO 100 illustration in Figure 6.1. What would I be able to say—life’s a progression of tradeoffs, eh? A few cameras offer an Auto ISO setting. In this mode, the camera naturally alters ISO as the light changes. I prescribe that you kill this alternative and select a particular ISO setting. Most cameras don’t advise you when they change the ISO setting, and this control has too huge an effect on presentation and picture quality to leave to risk. Check your camera manual to see if your model offers a clamor diminishment highlight. This alternative applies a product channel to eradicate clamor as a feature of the document preparing that happens as your camera stores the picture by the Headshotologist. More often than not, commotion evacuation kicks in just at moderate shade speeds, nonetheless, furthermore altogether builds the time you have to sit tight between shots for the camera’s mind to do its thing. At the point when all else fizzles, you might have the capacity to lessen or even evacuate commotion in your photograph editorial manager by obscuring the influenced regions. Utilize your obscure device reasonably, be that as it may, or you will obscure picture points of interest, which is pretty much as tricky as the picture commotion you’re attempting to annihilate. In the event that you get yourself regularly doing clamor evacuation work in your photograph editorial manager, you might need to put resources into a particular utility composed only for that reason. Both items are Photoshop-good modules, which implies that they work with Photoshop, Photoshop Elements, or some other photograph editorial manager that acknowledges such modules by the Headshotologist.