Amherst Media - Posing for Portrait Photography A Head-to-Toe Guide.pdf - Amherst Media - wobawy

FOR DIGITAL AND FILM PHOTOGRAPHERS

POSING

PORTRAIT PHOTOGRAPHY

a head-to-toe

guide

JEFF SMITH

Amherst Media ®

PUBLISHER OF PHOTOGRAPHY BOOKS

POSING for

PORTRAIT PHOTOGRAPHY

Published by:

Amherst Media, Inc.

P.O. Box 586

Buffalo, N.Y. 14226

Fax: 716-874-4508

www.AmherstMedia.com

Publisher: Craig Alesse

Senior Editor/Production Manager: Michelle Perkins

Assistant Editor: Barbara A. Lynch-Johnt

ISBN: 1-58428-134-9

Library of Congress Card Catalog Number: 2003112490

Printed in Korea.

10 9 8 7 6 5 4 3 2 1

No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic,

mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.

Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions.

The author and publisher will not be held liable for the use or misuse of the information in this book.

TABLE OF CONTENTS

INTRODUCTION . . . . . . . . . . . . . . . . . . . . . .6

Salable Posing . . . . . . . . . . . . . . . . . . . . . . . . .6

Obstacles to Salable Posing . . . . . . . . . . . .6

The Client Knows Best . . . . . . . . . . . . . .10

Learning Posing . . . . . . . . . . . . . . . . . . . . . .11

Show, Don’t Tell . . . . . . . . . . . . . . . . . . .12

Update Your Pose Book . . . . . . . . . . . . .12

About This Book . . . . . . . . . . . . . . . . . . . . .13

1. SIX THINGS

YOU SHOULD NEVER DO . . . . . . . . . . . . .15

Number One: The Angle of the Face . . . . . .16

Number Two: The Shoulders,

Waist, and Hips . . . . . . . . . . . . . . . . .17

Number Three: The Arms . . . . . . . . . . . . . . .18

Number Four: Lower the Chin,

Lose the Catchlights . . . . . . . . . . . . .18

Number Five: The Spine and Shoulders . . . .19

Number Six: Your Expression . . . . . . . . . . . .20

An Additional Factor:

The Tilt of the Head . . . . . . . . . . . . .22

2. DEFINING THE POSE

Types of Poses . . . . . . . . . . . . . . . . . . . . . . .24

Traditional Posing . . . . . . . . . . . . . . . . . .24

Casual Posing . . . . . . . . . . . . . . . . . . . . .25

Journalistic Posing . . . . . . . . . . . . . . . . .27

Glamorous Posing . . . . . . . . . . . . . . . . . .27

Settings, Clothing, and Posing . . . . . . . . . . .29

Settings . . . . . . . . . . . . . . . . . . . . . . . . . .30

Taking Your Cue from Clothing . . . . . . .33

Capturing the “Real” Person . . . . . . . . . . . .34

TABLE OF CONTENTS

4. POSING THE SHOULDERS,

ARMS, AND HANDS . . . . . . . . . . . . . .51

Triangular Composition . . . . . . . . . . . . . . . .52

The Shoulders . . . . . . . . . . . . . . . . . . . . . . .56

Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Long Sleeves . . . . . . . . . . . . . . . . . . . . . .57

Don’t Rely on Digital Fixes . . . . . . . . . . .57

Explaining Problems with Tact . . . . . . . .59

Posing the Arms . . . . . . . . . . . . . . . . . . .60

Using the Arms to Conceal Problems . . .61

Observe the Details . . . . . . . . . . . . . . . . .61

The Hands . . . . . . . . . . . . . . . . . . . . . . . . . .63

Bend Every Joint? . . . . . . . . . . . . . . . . . .63

Give Them Something to Hold . . . . . . . .64

Before Moving On to

the Full-Length Poses . . . . . . . . . . . . . . .65

3. POSING THE FACE . . . . . . . . . . . . . . . . .35

The Connection to Lighting . . . . . . . . . . . . .35

Light from Below . . . . . . . . . . . . . . . . . .35

Consistency . . . . . . . . . . . . . . . . . . . . . . .36

Hardness or Softness of the Source . . . . .36

The Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Catchlights . . . . . . . . . . . . . . . . . . . . . . .38

Position of the Eyes . . . . . . . . . . . . . . . .41

Eye Contact . . . . . . . . . . . . . . . . . . . . . .43

Reflective Poses and Profiles . . . . . . . . . . . . .46

Eyes Follow the Nose . . . . . . . . . . . . . . .46

One Eye or Two . . . . . . . . . . . . . . . . . . .46

Lighting . . . . . . . . . . . . . . . . . . . . . . . . .46

The Tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . .46

The Traditional Rules . . . . . . . . . . . . . . .46

The Real Rule . . . . . . . . . . . . . . . . . . . . .47

Hair . . . . . . . . . . . . . . . . . . . . . . . . . . . .47

Guys . . . . . . . . . . . . . . . . . . . . . . . . . . . .48

The Neck . . . . . . . . . . . . . . . . . . . . . . . . . . .49

5. THE BUSTLINE AND

THE WAISTLINE . . . . . . . . . . . . . . . . . . .68

Enhance or Conceal? . . . . . . . . . . . . . . . . . .68

Lighting and Posing . . . . . . . . . . . . . . . .70

The Waistline . . . . . . . . . . . . . . . . . . . . . . . .71

Angle to the Camera . . . . . . . . . . . . . . . .71

Seated Subjects . . . . . . . . . . . . . . . . . . . .71

The Emotional Factors . . . . . . . . . . . . . . . . .72

Technical Skills vs. People Skills . . . . . . . .72

Interpreting Emotions . . . . . . . . . . . . . . .74

Lasting Value . . . . . . . . . . . . . . . . . . . . .76

6. HIPS AND THIGHS . . . . . . . . . . . . . . . .78

Avoiding Full-Length Poses . . . . . . . . . . . . .78

Slimming the Hips and Thighs . . . . . . . . . . .79

Standing Poses . . . . . . . . . . . . . . . . . . . .79

Seated Poses . . . . . . . . . . . . . . . . . . . . . .80

Look for Obstructions . . . . . . . . . . . . . . . . .82

In the Studio . . . . . . . . . . . . . . . . . . . . . .82

Outdoors . . . . . . . . . . . . . . . . . . . . . . . .83

Groups . . . . . . . . . . . . . . . . . . . . . . . . . .84

Purpose of the Portrait . . . . . . . . . . . . . . . . .85

Unusual Poses . . . . . . . . . . . . . . . . . . . . . . . .87

Our Changing Bodies . . . . . . . . . . . . . . . . . .88

POSING FOR PORTRAIT PHOTOGRAPHY

7. THE FEET AND LEGS . . . . . . . . . . . . . . .89

Feet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Bare Feet . . . . . . . . . . . . . . . . . . . . . . . .90

Minimizing the Apparent Size . . . . . . . . .90

Posing the Toes . . . . . . . . . . . . . . . . . . . .91

Shoe Selection . . . . . . . . . . . . . . . . . . . . .91

Legs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .94

Ankles . . . . . . . . . . . . . . . . . . . . . . . . . . .94

Muscle Tone . . . . . . . . . . . . . . . . . . . . . .94

Color and Nylons . . . . . . . . . . . . . . . . . .95

Getting New Ideas . . . . . . . . . . . . . . . . .96

Leg Length . . . . . . . . . . . . . . . . . . . . . . .96

Posing Techniques . . . . . . . . . . . . . . . . .97

The “Deadly Sins” of Leg Posing . . . . . .99

8. BRINGING IT ALL TOGETHER . . . . . .101

Pose Every Image as

a Full-Length Portrait . . . . . . . . . . .101

Analyze the Lines . . . . . . . . . . . . . . . . . . . .101

Take Control . . . . . . . . . . . . . . . . . . . . . . .103

9. POSING MULTIPLE CLIENTS . . . . . . . .109

Proximity and Composition . . . . . . . . . . . .109

Head Placement . . . . . . . . . . . . . . . . . . . . .110

Start with the Core . . . . . . . . . . . . . . . . . . .111

Your Best Work for Every Client . . . . . . . . .111

10. VARIATIONS . . . . . . . . . . . . . . . . . . . .114

Practicing with Variations . . . . . . . . . . . . . .114

Demonstrating Variations . . . . . . . . . . . . . .119

Keep Poses in Your Mind . . . . . . . . . . . . . .119

Helping Your Client Relax . . . . . . . . . . . . .120

IN CLOSING . . . . . . . . . . . . . . . . . . . . . . .121

ABOUT THE AUTHOR . . . . . . . . . . . . . . .122

INDEX . . . . . . . . . . . . . . . . . . . . . . . . . . . .123

POSING FOR PORTRAIT PHOTOGRAPHY 5

Amherst Media - Posing for Portrait Photography A Head-to-Toe Guide.pdf

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