Gregory Heisler: 50 Portraits: Stories and Techniques from a Photographer's Photographer

Greg Heisler and I grew up into the uncertain profession of taking pictures for magazines about the same time. Which was wonderful, as you could watch his extraordinary talents literally change the face of magazine portraiture and the use of color right then and there, in real time. And not so wonderful, like when you would be called into a meeting with the creatives at a mag and they would throw one of his recent triumphs down on a table in front of you and say, “We want our pictures to look like this.” Gulp. His talent is prodigious, and his grasp of what a photo needs to work is formidable. He shifts gears from fantastical colors to the simplicity of black and white with astounding dexterity. His sense of graphics, of ways to include prescient, story telling information in a manner so subtle and richly pleasing to the eye that the reader is unconsciously being informed while simultaneously being seduced by the pictorial splendor of the frame, is nothing short of remarkable. This book is a compendium of pictorial successes, some simple and direct, others complex and hard won, coupled with a conversational, often humorous assessment of those fraught moments behind the scenes when all things hung in the balance, awaiting the outcome of the simplest of questions. Like, “When will she come out the makeup session?” If you are any kind of photographer, but perhaps, especially if you are a young photog, breathing fire, aching for success, poised on the verge of as yet unknown failures and successes, this book could be viewed as a letter you need to read. The time machine known as a career mellows, informs, enriches and deepens raw talent, which Greg had aplenty when he burst onto the scene in 1980 or so. As David Hobby mentioned over @strobist, some of the book feels like Greg is writing a letter to his twenty year old self. His reflections, insights, humor, and technical notes stem from a life on the pictorial edge. As he says himself, he took his biggest risks on his biggest shoots. Admirable, indeed. One of my favorite things Greg says in his classes (and I have been to a bunch of them) is that there is a certain kind of lighting you do because it informs the picture, and shapes the message. And then there’s a kind of lighting you do BECAUSE IT LOOKS COOL. He is very matter of fact about this, which automatically frees him up from the more ponderous concerns of certain elements of photojournalism and allows him to experiment and have some fun. And fun, in any kind of photography, is key. I have worked for numerous editors in my career who were seemingly so weighed down by the gravitas of their mission (and thus, by association, their own importance in the grand scheme of things) that they literally would send you on assignment with an anguished look on their faces, as if they were sitting there with an A-clamp on their private parts. When Greg departs from reality, which he blessedly does every once in a while, his virtuoso command of color presents a visual riot, a bit like a well done sci-fi flick. This book is a very deep pond one can take a languid dive into and be pleased and informed on so many levels. It is, absolutely, in my opinion, required reading and viewing, should one take the process of picture making seriously, or casually. It is also a refreshing turn of the road in the world of photo books. This is not a couple years experience married to a snazzy workflow. The ease with which this knowledge is imparted belies the hard won nature of it. Greg has grappled, more successfully than anyone, with that age old conundrum of seeing stories in faces, and telling them beautifully. If there is a photog in your life, Christmas is coming. Just sayin’.

Like the title said the photos in this book are a bonus. It could easily have been made without them. You'll spend more time reading what he has to say than looking at what he has done. There is a great deal of information in this book that you'll never get anywhere else or they won't explain things so easily. For example in the section with Liam Neeson, Heisler explains the difference between color and black & white photography. It couldn't get much better than that. So simple and straight forward and everything just clicks when you read it. You will reread a lot of parts over again because he makes it so easy even when it's not. There's also a section with Liv Tyler where he explains the difference in photographing men and women. It's such a simple idea that changes how you think. He touches on a number of things briefly, but in those brief segments he gives a lot. Like shooting with a shorter lens over a longer one. There's not a lot of technical information in this book which I find to be a great thing. But, it's also a great book on teaching lighting. Funny enough there are no diagrams or an emphasis on this or that setting. He doesn't go on explaining how to use the "proper" technique in a given situation. No one can tell you what you're supposed to do and he doesn't try to do that. Only what he did to achieve what he wanted, and in that he gives out the gold. The best way I can think to describe it is it's conceptual almost abstract. It's a collection of ideas and concepts to help people create stronger images. Like quick little lessons anyone can learn from. But at the same time these small little bits of information are like big explosions. I feel it's because he makes it so easy to grasp. Reading this you'll quickly learn that he wastes light, but from his results was it actually a waste? Some people will think so. This also paints a good picture of what a shoot is like. Not in the way one would think. There's no play by play of the preparation, setup and post (well there are some things about is post). More like the way things felt. The vision of the image he wanted to create, if he could create that image. What images came to him. How he got his subjects to give him exactly what he needed or how he used best what little he got. Interactions with the people he's photographing. Were they relaxed or not, how he approached them. When to abandon and idea and go into a different direction. Being open to new things. Being ready for when things don't go as planned. The book isn't a boring read either. Some books can seem like they drag or start off strong but end up dragging. This doesn't, and I think the humor has a lot to do with that. It's an easy going read. I think anyone can get through quite a bit of it in a short time (or not because you'll reread some areas). You simply have to read the book to understand what people are talking about or feeling after they've read it. You're just missing out on a lot of great insight if you don't.

When it comes to books about portraiture, you'll find volumes written about lighting, posing, and technique. There are also plenty of books that will try to walk you through a behind-the-scenes description of a location or studio shoot. Most of those books look the same after a while, and share precious little that is truly inspirational or unique. In "50 Portraits", Heisler breaks the mold and shares some truly remarkable images from his work, while accompanying each photo with fascinating details about the thinking and technique behind the shoot. Note that this is not a primer, or technical book. There's certainly discussion of technical topics that went into creating a particular photograph, but you won't find mundane 'how-to' advice in this book. Instead, Heisler's thoughts on technical topics are for the most part quite general, but give you insights into how masterfully crafted each portrait is (case in point: portrait #49 of Julia Roberts is absolutely stunning, as is the description of how it was put together). His descriptions will leave you astonished at the subtly and care that goes into every aspect of the image. What's really unique about this book is the thoughtful recording of the ideas behind each portrait. Heisler carefully describes what he was trying to accomplish in each photo and why. You really get a sense for how each image was very carefully planned to communicate something specific *about* the subject, and how those qualities were created. The images are not about his lighting technique, but rather to convey something specific about the sitter. Whether he's sharing ideas about working with people, giving advice on technique, or describing his thought process behind an image, each segment that accompanies the photograph is both fascinating and thought-provoking. After reading '50 Portraits' I found myself looking at portraiture in an entirely different way, and gave me a whole new appreciation for the art. The images themselves have excellent print reproduction, and the large, hard-cover binding makes this a great addition to any bookshelf. While this is available on Kindle, I can't imagine why anyone would opt to get a digital edition of this book, when it's the prints that make each photo truly come alive. Highly recommended for any photographer interested in portrait photography. You'll be hard pressed to find a better book than this one.

I learned about Gregory Heisler; 50 Portraits, reading David Hobby's Strobist blog. Heisler's credentials as a portrait photographer are well established. His list of publications and subjects seems endless. You have seen his images in Sports Illustrated, GQ, New York Times Magazine, and more than 70 covers of Time. His body or work includes portraits of Muhammed Ali, O.J. Simpson, Carl Lewis, Greg Louganis, Shaquille O"Neil, Danny Davito, Ed Harris, Al Pacino, High Grant, Liv Tyler and Tim Burton. And this is only 12 of the 50 portraits. My copy arrived last week and I am very pleased that Heisler's editor and friends were successful at coaxing this book out of him. The result is a magnificent coffee table sized, hard cover book that is a marvel to look through and a photographer's dream to read. He truly is a "photographer's photographer", as described on the cover dust jacket. If you spent one week digesting each image and accompanying text before moving on the the next, you would take a year long learner's journey. Think about that. One of the outstanding features of 50 Portraits, besides the images themselves, is that Heisler can write. I mean really write. His high profile subjects are presented humanly in his story narrative, while his "Thoughts on Technique" provide a deeper dive into the technical side of the photographer's head. Every page contains quotable passages, which is as amazing as it is unusual. When writing about light, Heisler's voice is rock steady and commanding in a gentle, yet firm tone as he explains that light gets softer as it gets closer to the subject (because the "rays begin to strike the subject from many different angles"). But he doesn't stop there, as he continues to explain that he prefers to feather his light. A technique that directs only the edges of the light on the subject and throws the rest away. I feel like I am listening to a portrait master speak to me, which he is. When read in context, the meaning drills into your head until you feel and understand his point being made. When reading the narrative that accompanies each portrait, it feels as if you were having a beer with Heisler, and had asked him to tell you about a particular image. He could have stopped with the back story, as many photographers might have, but each narrative is followed by a Thoughts on Technique section that goes much further into the technique, process and experience of this portrait master. One of the Thoughts on Technique that intrigued my was using a "shorter" lens, like a 50mm, to make a portrait. "there is an immediacy to portraits made with "shorter" lenses...these lenses require you to be physically closer to your subject. The dynamic changes. Engagement is unavoidable. The resulting portrait may be less traditionally pleasing, but it is a whole lot more interesting." "The other thing that shorter-focal-length lenses do is enhance, or force, the sense of perspective in the picture. Close things seem closer; farther ones recede. The effect can be subtle or quite dramatic. In portraiture, it can be slightly unsettling or downright startling; it's a matter of degree." If you are on a portrait vision quest, this book may help guide you, but, as always, the rest is up to you.

The words are more important than the pictures. It may sound odd to say, especially about a book on Photography. But it's the truth! Heisler's description on his thought (process) is worth every single penny spent on this book. Building trust with the sitter (subject) is key beyond lighting, camera and everything else. The photos are very good. In fact, you may have seen many of them before -- but the knowledge imparted is exquisite. All in a quite beautiful and large-sized book. Yes, I would have liked to have seen portraits of ordinary people, not just mostly famous personalities. But maybe that will be in the next book. Don't think twice. Do get this book if you want to learn more about the artist and if you are looking to stop, pause and reflect upon yourself.

This was an easy 5 star vote. I've been reading the book in small chunks, as each portrait and accompanying text demand a certain amount of time to stare at, think about, and fully digest. I just finished #30 (out of 50), which is more than enough to judge the book. First off, I can't believe this book was only $26. I would have felt it a bargain at twice that price. The book is physically large, the portraits fill the page, and the image reproduction is outstanding. Even the paper quality is top-notch. I found the text accompanying each portrait to be exactly appropriate. Don't expect to come away being able to reproduce the technical aspects of Heisler's work. This is not a step by step technical instruction manual. God knows I've read enough of those. What you will get is a glimpse into how an extremely creative, artistic mind sees things and solves problems. Also, you'll get some pretty funny stories from a guy who would be really fun to have a beer with. So far, I'm finding myself feeling a mixture of awe over his talents as a photographer, and complete inadequacy about my own. I could read a bunch of books. Then watch a bunch of videos. Then take a bunch of classes/workshops. Then shoot and shoot and shoot. Then shoot some more. And after all that, my stupid, stupid brain still wouldn't see the world anywhere near the way Heisler does. But, wow, it's really made me want to try harder! One thing it has specifically helped me with is focusing my interest on environmental portraiture. That's the work of Heisler's and others that I find myself going back to over and over. Almost all the images in the book were taken on various forms of large format film. Heisler asserts repeatedly his belief that this gave him an advantage in terms of image quality and "feel". While I have no doubt that's true, I would welcome a future book showing what his eye and technical talents can produce with digital, including some compare/contrast to film.

I've been a pro photographer for 40+ years and a teacher for 35 years. My bookshelves are filled with all kinds of coffee table books, instructional volumes, etc. I rate this book among the best I've ever seen. This is right up there with Karsh, Hurrell, Arnold Newman, etc. Top stuff. Heisler's approach to portraiture is ever-changing. He has location, studio and conceptual shots with no defined similarity except high quality. The tones are intentionally placed, the poses are innovative, the compositions feel good, and sharpness (where appropriate) makes the images life-like. The print quality of this book is top notch. The writing is concise and easy to read, with a good balance between descriptions of the sessions and how the main challenges were handled. It's not technical, but there's enough in there to inform photographers about problem solving strategies. I'm gushing, but I don't get the chance very often. If you like looking at photos of interesting people, mostly celebrities, you'll go cover to cover with this book many times. If you're a student of portraiture, or a pro, you'll get dozens of inspiring ideas from this book. I intend to make my students buy this volume as the textbook for the intermediate portrait workshops because it's chock full of great examples. Trying to duplicate these images would raise anyone's game. I'm learning a lot from it!

This is the quintessential book on photography for those seeking inspiration and improved technique. My library contains dozens of books on photography, some intended for perusing; others intended for instruction. Some are technical; others not so much. This book contains some of the best photography found anywhere, and Mr. Heisler presents his narrative about each of the portraits in storybook fashion. His prose is on par with his photography, which is quite an accomplishment, given the beauty of his images. Without trying to impress the reader with technical jargon, Heisler explains in considerable detail how he set up the fifty portraits to achieve the awesome results. This is a book for the coffee table, but also one one for the reference library.

Ce livre ne va pas apprendre comment prendre des portraits. Il explique comment 50 portraits ont été pris, les circonstances, la technique, ... Pour une personne non photographe ces textes seront surement un peu long le reste de récits est très intéressant malgré tout

The photographs are brilliant most shot with large view cameras but the most important thing is you are told what he was thinking If you are into portrait photography you will learn even if you use an iphone

Muito bacana. Além dos retratos lindos, ele dá uma história geral sobre o ensaio, e aproveita pra entrar em algum detalhe técnico da foto. Imperdível.

Realmente vale la pena comprarlo si te interesa la fotografía, y específicamente el retrato. Vienen algunas anotaciones técnicas muy generales, pero lo que hace realmente valioso a este libro es que va más allá de la teoría, y se adentra un poco más en reflexionar la esencia del retrato, cómo fueron tomadas las fotos tanto en contexto como en técnica. Además vienen personalidades bastante conocidas. Yo compré la versión kindle pero recomendaría la versión física para apreciar mejor las fotografías y porque es un excelente libro.

I have bought Gregory Heisler's book after reading David Hobby's strobist blog. Among other books from other celebrated photographers, he recommends this lecture for a better understanding of light. Why I love this book? Besides the technical details that you will read about for each image presented in this book, it takes the form of a guide into how images should be created: from thought to the actual image. I love the quality of the prints and the huge amount of detail. Gregory Heisler became my favorite photographer with the first two stories in his book but what have sealed the deal is the story on Luis Sarria (the front cover). There is a lot to learn about photography for everybody. It made me love photography even more and be more curious about light. I have actually tried to replicate an image from this book and I will attach it to my review. With each page read you learn something. I am very happy with this purchase because I haven't bought a product but stories that I can learn from.