002_Posing_for_Portrait_Photography_laba.ws.pdf
(
3051 KB
)
Pobierz
Posing for Portrait Photography
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
Copyright © 2004 by Jeff Smith.
All rights reserved.
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
3
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
4
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
Plik z chomika:
tipu-taki
Inne pliki z tego folderu:
Photography - 74 classical model poses.pdf
(8747 KB)
pozy modelek 300 póz.rar
(7852 KB)
Pozy modelek 370 póz.rar
(1081 KB)
Fotografia studyjna. Pozy modelek(1).zip
(5195 KB)
poradnik modelki.pdf
(4519 KB)
Inne foldery tego chomika:
Zgłoś jeśli
naruszono regulamin