Auxiliary Flash Pop-up flash definitely has its limitations. To create ar- resting images with artificial light you need to have more control over your light source than is possible Shooting with the dome from a Gary Fong Lumisphere. The cameras. The first step in using a uni- chase an auxiliary flash for your camera.
If you were using Teaching lighting workshops has taught me that ISO film or an ISO setting of on your digital cam- students are often totally mystified, even intimidated, era, you would set the ISO on your flash to By by the use of auxiliary flash. As a result, the flash either matching the camera and flash ISO, you are telling the stays in the closet or is pulled out as a last resort.
When photographing wed- cover. In the days before electronic flash, this was dings and events, knowing how to creatively use your where guide numbers the power of the flash divided flash is absolutely essential, but I have even used my by the distance from the camera to the subject be- dedicated flash on commercial shoots as an auxiliary came important.
Fortunately, with the advancement light. Note: Guide numbers do, how- camera flashes. So when shop- Before I unravel the mysteries of the auxiliary flash, ping for your ideal flash, note the guide number; a though, I would like to discuss why one would want bigger value means a more powerful flash.
The obvious reason is Today, most universal flashes have some type of to illuminate an area that would otherwise be too dark automatic system that calculates the correct exposure. For instance, the Vivitar uses a color-coded sys- However, you should also consider using a flash when tem to automate the correct exposure.
Determine the distance from the flash to the is dedicated to your camera—meaning that the flash subject. On the Vivitar , Look for the color that to achieve a good exposure. A non-dedicated or universal camera flash, such as 4. The dial will also indicate the maximum of cameras. However, these units need to be set up distance the flash will cover.
The advantage of this type of flash is that it can be used The distance you need to cover your depth of field will with any camera model, unlike a dedicated flash that determine the color you set your flash on—a little eas- only works with cameras from the same manufacturer ier than figuring out the guide number!
This is important to know, because if you set your shutter speed faster than the recommended sync speed, the flash will only illuminate part of your frame. Dragging the Shutter. Although you are limited to how fast you can set your shutter to sync with the flash, you are not limited to how slow you can set your shutter speed.
Using a shutter speed that is slower than the recommended sync speed is called dragging the shutter. This is a useful technique in situations where you want to combine ambient light with flash. For example, imagine that you are photographing It is essential to know how to work your flash outdoors, especially a 20xfoot room that is illuminated by some win- if you plan to shoot weddings. The ceremony had just ended dow light. Now, in walks the basketball team you around 3PM on a bright, sunny day.
This created very deep shad- 15 ows that are not ideal for wedding portraits. The key was to turn have been hired to photograph. You know your flash my subjects away from the sun so they were backlit or, in this can only illuminate up to 20 feet with an aperture at case, closer to side lit.
This will be fine for properly exposing the team, faces. With my focus on auto, the only thing left for look like the team is standing in a cave; the flash will me to do was to engage with my subjects and shoot until I got the right expressions. Wow—that was easy!
The solution? Earlier, I mentioned ficiently that it matches the flash output. The result how the flash can be used to lighten shadows and re- will be a more natural-looking environment. Just re- duce contrast in a portrait. Freezing Action. In , Harold Edgerton took the on- camera flash one step further with his invention of the stroboscope.
His intention was to take high- speed photographs of familiar sub- jects, such as a splattering drop- let of milk—things that move at One reason to use flash is for its ability to freeze action. Because you are redirecting the light and it Direct or Bounce Flash. On-camera flashes can must travel farther to illuminate your subject, how- create two types of light: direct or bounced.
This is the harshest type of lighting—and Indoors, you can angle your flash up and bounce if the light is too close to the lens, red-eye will appear the light off the ceiling. Just make sure the ceiling is ei- in your portrait. Direct flash does, however, take full ther white or gray; otherwise a color cast will reflect advantage of the power of the flash, maximizing the onto your subject.
I find fifteen-foot ceilings to be of light that falls on your subject. Bounce or indirect flash is produced when the When working outdoors, more advanced flash flash is angled in such a way that the light bounces off models have a built-in bounce card that you can pull a surface before hitting the subject. This is an easy and out when needed. You Taking the Flash Off the Camera.
One easy way can even place a white index card on top of your flash to control the quality of the light from your flash is to to create a surface that will redirect the flash. This can be done Special Effects with Flash. This allows you you must work in a totally dark room with your cam- to move the flash away from the lens axis, either hold- era set on bulb.
Then, with the shutter open, you can ing it in your hand or attaching it to your camera via pop your flash multiple times and record the stages of a bracket an arm-like device that supports the flash at a single motion.
Advanced flashes have a multiflash a distance above or to the side of the camera. These transmitters have effects. Just remember that some gels absorb light; to a range of 30 to 40 feet indoors and 20 to 30 feet out- compensate, you may have to increase your exposure. They can also trigger an unlimited number of If you have a light meter, you can take measurements Canon flashes, offering many creative possibilities.
When this happens, the flash nate your subject and the entire environment. To do reflects off the retina and back into the camera lens. Then, set the flash to illuminate your subject and the walls at a spe- cific distance and a specific f-stop. Trigger the shutter to begin the ex- posure and start popping the flash to illuminate the subject and then the walls. When you have covered the entire area with flash pops, release the shutter to end the exposure.
While the shutter remains open, multiple flash pops create a stroboscopic effect. The decision should be based on your usage. Look for a flash with a good guide number feet or more. Manufacturers often combine the range of the flash with the focal lengths of a lens.
Look for a flash that is dedicated to your camera and has TTL through the lens capability. This allows the flash and camera to talk to each other to determine the right exposure. This allows you to synchronize two or more flashes. If you are purchasing the flash for personal rather than professional use, however, you can consider a less expensive flash with fewer functions.
The Canon Speedlight EX is a very compact flash for Canon cameras that has the TTL function but not a bounce I had Melika rest her head on a lacquered table in the dining room, then placed a tungsten conversion gel over my flash along with a head. I set my white balance to tungsten light to match the bounce head and can be used on different makes of color temperature of the flash.
The reason for all this hoopla was to get a blue background and a blue reflection on the table and cameras. I then attached my flash to a The key to mastering flash is practice, practice, and flash cord so I could extend it over my head and direct it toward my subject. This way, I avoided a flash reflection in the window be- more practice. It may seem like a burden to carry an hind her and achieved a more sculpted quality of light.
LCD screen and use it to hone your skills. So dust off Although many flashes are available your choices are your flash and start creating. Flash set on normal. Assignment called me back to let me know they wanted to hire me This photograph was taken during the preparation for for their wedding. I like to photograph weddings in a pho- The day of the wedding, my assistant and second tojournalistic style, so I begin my wedding-day cover- shooter arrived at the site around 1PM to scout the age by being present to document all the preparations location and begin shooting the wedding preparations.
Here, the bride, Shelby, was en- ment it as needed with flash. Here, I knew there was tering the cabin to greet her family. I set my camera on shutter- would make a nice framing element for my subject.
This added to dreamy Posing Technique quality of the image. No direction was used in this photo since I was trying to capture a real moment. I simply watched and waited sunlight creating blown-out background for the right moment. When Shelby lifted her train with her left arm I knew that was the shot. The pose reminded me of the goddesses depicted on the sides of ancient Greek vases. You never know when you may find your next client. Knowing that my client needed an outdoor zine called State Ways.
The designer, from New York shot, we headed up the hills looking for a vantage City, had searched the web for a photographer in point with the state capital in the background. There, Montana and saw my work on my web site.
I had I noticed a home under construction. The one ledge on the outdoor porch that faced the capital. At demand was that the portrait be taken outside. To compress all the elements, I selected a Visual Objective telephoto lens which meant I had to shoot through a My subject, Shauna Helfert, was the Administrator of window while standing in their deconstructed living the Montana Liquor Control Division, so the state room—the photo gods were definitely looking over capitol with the mountains in the background was a me that day!
Tips Posing When balancing strobe and daylight I always bracket Shauna is a state administrator and I wanted her to ap- my shutter speeds to vary the background exposure. Because she was sitting on a narrow ledge, the challenge was having her keep her sunlight back straight, relax her left hand on top of her right, sit in a three-quarter view to the camera, and keep breathing.
You would be surprised how some people hold their breath while they are being photographed. The Story main light balanced silver reflector When my assistant and I drove to Helena early in the with sunlight disc for fill morning it was sunny, so I decided to photograph the inside shots first—thinking that later afternoon light would work well for the cover. Like all animals, food is a great This was an assignment for the magazine Inspire Your incentive for hens, though.
So I set up the shot, stood World. Unfortunately the publication only lasted five behind my camera, and directed Sandra while my as- issues and this was the last issue. I was hired to pho- sistant threw feed on the ground. It took many tries, tograph the artist, author, and art therapist, Sandra but we finally got the shot.
Magsamen at her home just outside of Baltimore. This is part of dra. When we arrived at her home, I scouted around her personality, and I feel it is important to identify for a location that would suit my subject. She had a the unique physical qualities of your subject and allow great art studio where she worked, but I wanted to es- them to become part of the portrait.
Similarly, choos- tablish the opening shot for the article. I had seen this ing the wardrobe of your subject is also very impor- great chair that she created, and the porch outside her tant.
I selected the red shirt for Sandra because I knew studio made for a great backdrop. Posing I knew she would feel comfortable in her chair, so the sunlight pose would fit the chair.
My only concern was work- ing with her hands. Because she was an artist, I wanted her hands to show off well, so I simply told her to hug the back of the chair with her hands.
The Story Meeting Sandra was truly a rich experience. She is as medium softbox big as the hearts she creates. When she told me she had hens on her farm I asked if we could use them for the shoot. As a bonus, Deirdre also gave me an ad- taken for the magazine Distinctly Montana. Deirdre vance copy of her novel to read. It was early spring and was coming out with her fourth novel and the maga- I wanted to wait until there was more foliage on the zine was writing a profile on her.
As a result, the ses- about Montana and the fictional people who live sion went very well and pretty quickly. I wanted to visually incorporate that geographic essence of her books, so I felt it was important to have Tips mountains as a backdrop. Fortunately, Deirdre dressed in designer black. The It was touch and go with the heavy clouds, but the lime green coffee cup was for a splash of color. If you plan for the worst-case scenario, you will always be prepared to Posing come away with a successful portrait.
After scouting the location, I found a comfortable patio chair and a table. I had originally placed a laptop on the table and was going to have her pretend she sunlight was working on her next book, but it looked awkward. I prompted her to breathe octagonal deeply a couple times and gaze into the lens. This gave me an opportunity to learn a little about her and see where she lived.
I shot about three rolls and called it a This was a publicity photograph for a play, Rose Selavy rap. It longer—and I had the shot. Note: I also brought extra promoted the play for the Philadelphia Fringe festival.
Note: Rose Selavy was a s portrait taken by Man Ray in collaboration with Marcel Duchamp; likewise, Tips this image was a collaborative effort. In addition, you should know how to Before the shoot, Whit gave me a general idea of what lock up your camera mirror to avoid vibration—and the play was about.
If you do, shoot using have the Philadelphia skyline in the background and a the self-timer so you are not touching the camera dur- night shot was essential to create the drama. I wanted Mary look vul- city lights in background nerable, so I used a fetal position. The Story When working with a theater group, you can expect medium plenty of volunteers to help transport equipment. For softbox for main light this shoot, we picked the warmest night in March around 40 degrees , and shot on the University Av- enue Bridge over the Schuylkill river in downtown camera on tripod Philadelphia.
When shooting environmental portraits remain con- scious of the place where you are working. I always think of sculp- in the creative process. It builds trust and helps them tors as big kids who still like to play in the mud and feel more comfortable in front of the camera.
That create wonderfully unique objects. My objective was said, you must still remember that you are the direc- to create a spirited, playful image of a father and son. Posing This was an easy one.
I asked if Rudolf could get on the floor, on the same level as his son, and give the boy some squeezes. I also liked his tennis shoes so I had him put his feet out so I could see the soles of his shoes. This look was exaggerated by the selection of a degree grid on artwork wide-angle lens.
The Story Anytime I photograph artists, I find the session fun and creative; they understand the process and are will- medium softbox ing to try just about anything. It is a real collabora- for main light tion. This image was taken at the beginning of my Fathers and Sons project, when I was trying to find at least five artists and their sons to photograph. Peter Davis, documentary and a camera case, the ticket taker just took my ticket.
Since we shot before the game Visual Objective started everyone left us alone. Here, the long curve cre- ated by the stadium wall and the baselines converging Tips toward home plate draw your eye to the family.
To Whenever you shoot in a public location it is a good make the subjects stand out from the crowd I lit them idea to get permission. There is always the fear of a li- with a portable strobe light.
On that note, it is also important to have good Posing commercial photography insurance that will cover you I wanted to show the sense of place, so I had them in case of an accident or potential lawsuit.
Also, be turn away from the field and lean toward the camera. I had Peter and Nicholas hold programs to give them something to do with their hands and build on the sense of place.
He and his sons agreed to a session on their before bringing the family to the boat. At that point, boat in the New Jersey shore. I knew I had only about twenty minutes of good back- ground light. Because of my preparation, though, this Visual Objective was more than enough time. The Howes liked the Gordie and all but one of his sons were professional short session and seemed to have fun. The real treat hockey players, but I wanted to capture them away was when they asked my assistant and I to have dinner from the ice.
I wanted a clean background with just a with them. They were cooking up the fish they had suggestion of the environment—the fishing rod. Posing Tips Group portraits always pose logistical challenges. Since Extension cords were key to this successful shoot. The fishing chair foot extension cord from the boat to the outlet on the presented the perfect way to accomplish this.
Once I dock. Today I still travel with extension cords, giving placed Gordie in the chair I arranged his sons. Marty me an option if my portable pack dies provided there held the top of the chair, Mark placed his left hand on is an outlet nearby.
I had Gordie rest his hands on his lap, anchoring the group. When they medium softbox mentioned that they had caught some fish early that morning, a light bulb went off: I realized I had to pho- tograph them on the boat at dusk. Fortu- meet your heroes. He was friends York City and I was free that day. By the time I got with jazz musician Dave Brubeck and suggested I con- there with my assistant, Jo Caress, it was dark and the tact him for the book.
It was very festive and the Brubecks were gracious hosts. Visual Objective Capturing the family dynamics is always one of my vi- Tips sual objectives; each son has their own identity and re- When photographing a large group you need a large lationship to their father.
In truth, though, the portrait light modifier. Because four of the sons wore glasses, is as much about me as it is about the Brubecks. To capture the ambiance of a large room, try drag- ging the shutter, as I did here.
Once you focus, turn Posing off the modeling light to avoid recording subject When I arrived at their home, I noticed that Dave and movement, unless that is the effect you want. That started me thinking about a keyboard—black keys surrounded by white keys. This concept, although not obvious, was the driving force of my placement of the family. It also helped that Dave was wearing a white belt. I also used the steps behind the family to stagger their heights.
Then, I had them bend their knees to create a more casual look. The final touch was hand placement—and the key was having Dave crossing his large softbox arms. They had come to New York City to visit job much easier. You should also have in mind some me and see my studio—and whenever family comes to strategies to engage the baby—unusual sounds not visit, I make sure to make time to photograph them.
Then, be patient Note: If you decide to pursue portrait photography, and ready to catch the fleeting moment when it oc- photographing your family is a great place to start. In this instance it was Lisa tickling her feet that When photographing a mother and daughter, you made the moment.
I decided to be creative and use natural light—sort of. To maintain the look of the highlights on the floor I had to keep the strobe light from wash- Visual Objective ing them out. To do this, I used a beauty dish with a While I was waiting for Lisa and Ali to arrive at my grid and a gobo to block the light from the floor.
When my subjects arrived, I immediately went into action. I set gobo down some pillows on the floor and metered, then asked them to lie down on the pillows so I could start shooting before the natural light changed. I set beauty dish gobo with degree down the pillows to mirror the window highlights. Surpris- Photographing musicians has always been a large part ingly, he brought out some play guns.
I photographed of my personal work, and Peter Yarrow of Peter and them back-to-back as if they were ready to duel. It was Paul and Mary was on my list. Like his music and so- worth a try—so be sure to keep an open mind and col- cial convictions, Peter and his son Christopher, were laborate with your subjects.
Without it, there walking into the rain forest. It was filled with tropical would have been no separation of my subjects from plants and Central American artifacts. I was given a the background. My objective was to to capture the candles burning.
I am not sure it was combine these elements, so I dragged plants to the worth it, though; they are difficult to see against the fireplace, lit candles, and placed a stool in the scene. I try to use every light source in the frame, though.
It is my obsession. You will learn how to avoid potential conflicts by remaining calm and confident. This ebook is a great read if you want to learn more about post-processing. Learn some helpful hints in this useful free ebook by Photography Concentrate.
Night photography is a whole different universe and it could also be a great source of inspiration. This one is an open-source ebook which will definitely grab your attention. It contains a lot of inspirational quotes and thoughts by the great masters of street photography. All the tips are simple to understand and to implement. The tips in this fantastic little ebook are also useful for other genres of photography where people are involved.
Whether that means purchasing books, enrolling in courses, or attending workshops, spending a little on improving at your favourite hobby is always a good idea. Enter your email to be sent today's Welcome Gift: 19 Photography Tools. Free Photography Books. Every genre covered. Table of Contents. Twitter Facebook 17 Pinterest Mark Condon. Mark Condon is a British wedding photographer based in Australia and the founder of Shotkit.
Key Posing Planes. Corrective Posing. The Finishing Touches. Posing Tools. Posing for Sales and Efficiency. Posing On Location. Other Posing Challenges. High School Seniors. Brides, Grooms, and Weddings.
Teams, Groups, and Events. So, this statement really puzzled us. We would ask questions to try to define exactly what the problem was. Now Johnny is 6'4", pounds, and is starting defensive end on the high school football team. So, determined, I set out to discover what it was that both- ered some customers but was fine for other customers.
After com- paring the demographics of the different plaintiffs and getting nowhere fast, I found a reason that is the foundation of this book. This is a guide to posing. There are plenty of images for you to study and use for your subjects. This book goes beyond posing, into improving sales There have been great posing guides published with page after page of and optimizing your time.
Do not limit yourself to these poses. They are fundamental guidelines for you to experiment with and blend with your own originality and the individual personalities of your subjects. Being able to apply them to different individuals is part of what makes our job so dynamic and exciting. This book goes beyond posing, into improving sales and opti- mizing your time. The portrait studio cannot survive on artistry alone. Sound marketing and management techniques are essential to your success.
We must capture what happens naturally and looks comfortable. This book is divided into three parts, which together form a system for you to apply with your subjects to make this task less difficult. I hope it helps you help others enjoy their portrait experi- ence and make your photographic endeavors, either as a hobby or as a career, more fun and fulfilling.
In fact, the subjects were clamped into position with braces, brackets, and more to hold them steady for the long duration of the expo- sure. No wonder they all have that same expression! With all the advancements in camera and lighting equipment, lenses, film and paper quality, and especially digital imaging, it is getting easier and easier to produce a quality photograph.
Today our challenge is much greater Quality portrait posing flatters the subject and makes than back in the clamped-neck years. Competitive and societal pressures him happy. Happy subjects buy portraits. Clients want variety and they want it in less than an hour! What strategy will set your studio apart from the rest? Be unique! Strive to make your subjects look their best, using a variety of posing, lighting, camera, and now digital techniques.
The restaurant industry felt the effects of convenience-minded marketing of fast-food chains long before the portraiture market. Yet, gourmet restaurants survive and even flourish. Understanding image and perception of quality is the key. Thus, we can continue making a living. My father assembled marketing ideas passed down from my grandfather and great-grandfather.
Certainly, sound posing is but a single element of quality. But in this fast-paced world of pixels and intercontinental digital image transfer, sound posing is becoming unique, as are sound lighting techniques. Study and learn. Know the why behind the quality portrait and your work will stand out from the rest.
Posing is the key that separates professionals from ama- teurs. Have fun with the ever-changing technologies and trends. But, like a goose that temporarily leaves the flock, always return to quality fundamental techniques that have withstood the tests of time.
As a portrait artist, it is your responsibil- ity to be in control of the portrait experience. An ounce of confidence is the key ingredient we need to obtain control. A positive connection, or rapport, between you and your subject starts with your own confidence.
If our subject was a ball of clay, which could be easily molded into any position, or a robot guided by remote control, our job would be simple. Most people are naturally a bit nervous job fun and serve as a basis for return business. If you do not attempt to show interest in your subject, his nervous ener- gy will become more negative.
It is easy for him to become bored, uneasy, even upset. Sessions full of confidence and enthusiasm make our job fun and serve as a basis for return business. When used in the proper amounts, self-confidence and energy are particularly important traits for portrait photographers.
More than most professions, our personalities can be reflected clearly in our work, on the faces and overall posture of our subjects. Once, a young aspiring photographer named Yosuf Karsh pre- sented his portfolio to Edward Steichen, a pioneer of photography as fine art. Steichen told Karsh the A confident professional will present a complete expe- now famous story of having been asked whether success in photography rience during the portrait session and produce a was due to luck, a question to which quality product.
Like a professional fishing guide who needs to find hungry fish for his clients in even the worst possible condi- tions, you have to be able to make the best of a bad portrait situa- tion. A confident professional will present a complete experience during the portrait session and produce a quality product. We are human and we have limitations as to the number of ways that we can stand, sit, bend our arms and legs, and so on.
Chances are, most of the possi- The better you understand the goals and physics ble positions of the human body have of different poses, the more effective you will be.
It is up to you to study the work of other portrait artists and find poses that you like and feel that you can use in your own portraiture. The better you understand the goals and physics of different poses, the more effective you will be at using them with different subjects in different situations.
There are all kinds of sources of ideas all around us, especially in our multimedia world. For example, if you plan to photograph teenagers, there are an overwhelming number of ideas available in magazines, videos, and even digital games. Look for a variety of styles and techniques.
Overused trendy styles age quick- ly and may negatively affect your overall creativity and strengths. Trend style posing and portraiture can be fun and attractive to some clients, but keep your future goals in mind.
Producing con- sistent high-quality portraits will help ensure your long-term suc- cess in the portraiture business. It is said that the best salespeople are good listeners. It could be said that the best photographers are good watchers.
Take mental notes of natural poses and visualize how you can use them during a session. So, again, practice, practice, practice. Do learn, practice, and use the rules and guidelines of posing, exposing, and composing for portraiture. These were established for a reason, and work well in many situations. Sometimes doing so will make the image unique and add to its impact. Do take time to get to know your subject prior to his or her portrait session. It will help you break the natural barriers between you and your subject, help your subject relax and ultimately help you capture good expressions.
During the consultation, watch how the subjects carry them- selves in a regular environment. Often these positions make for the best poses, because they are natural.
The consultation session allows you to learn more about what they want or expect from their session. Also, it is a good time to take care of big decisions that tend to weigh down a portrait ses- sion and ruin the mood and excitement. The type and number of outfits is one common such decision. If you wait until the portrait session to help them choose from their closet full of clothing, you may end up in the position of a bad guy for saying no to particular outfits or ideas.
A good consultation session will help educate the subject about what makes a quality portrait. From the information you gather during the consultation, you should be able to formulate a rough outline of the images that you will try to create during the portrait session.
Do know your equipment, lighting and photographic techniques. The more time you spend taking meter readings and moving lights, the more the subject will Experimentation is best saved for non-clients or after become uncomfortable and stiff. Elements expected by a client. Silence can be deadly in a camera room. Do be sensitive. Understand that they may be scared or nervous. Remember that many of us love creating wonderful portraits, but hate being in front of the camera. If they are worried about a particular flaw in their appear- ance, remember these three steps: 1.
Reassure them that you are aware of their concern, and that you, as a professional, will do whatever is necessary to minimize or eliminate the problem. Reiterate a positive about their appearance, clothing, etc. This can be a challenge, because your flattery should be appropriate and in the right amounts. Too much flattery will appear phony and lose its effectiveness.
Often expressing your own excitement about getting a good photograph is all it will take to reassure the subject. Keep in mind that the actual portrait session is a big part of the whole portrait experience, and that the underlying goal of most portraits is to make the clients happy about themselves.
Do remember names. Remembering names can, however, be a powerful tool to help you gain and maintain control. For example, using the names of all the bridal party members, parents, etc. It shows that you are profes- sional and are serious about your business. With individuals, specifically children, using their name looking forward to seeing that image will make you less of an imposing stranger and help them relax.
It will be less awkward help your client enjoy the session. Of course, bad or off-color jokes can destroy more than just the portrait session. But a simple funny story or comment about the weather or your own camping misadventures can serve as a good icebreaker for a session. Do try to keep your posing fast and fresh. Once again, this is a skill that can only be developed from practice and experience. She will feel better knowing that you are in control of the situation.
Pets, specifically, get warm and bored rap- idly, and often your first image is your best. Do show the pose. Mimicking is a great method for posing. If you have the attention of the subject, she will almost automatically mimic you as you move and demonstrate a certain pose. Also, she is reassured by the fact that she can see that you are able to do the pose.
Remember the mirror effect. Show the pose in the opposite left-to-right direction as you wish the subject to pose. Invariably, if you move your Working quickly shows your excitement and this will right hand and tell the subject to rub off on your subject.
A male photographer show- ing a feminine pose is almost always a great way to bring freshness into a session that has become stale and boring. Common sense should prevail here. Regardless of how well you think you know the subject, or how comfortable you are working with her, most subjects will freeze if you touch her because you are invading her comfort zone. Using your fin- gertips to touch will help limit uneasiness. Often, a slight touch on the shoulder or hand with directive words will be all that will be necessary to help her move in the manner that you intend.
Some photographers naturally connect with children and have no problem getting close. Usually, one or the other will say some- thing if they are not comfortable with the other in the room. Do be flexible. Otherwise, the subject may feel insecure about not being able to do what you want him to.
You may be pleasantly surprised by the new usable ideas that you may collect while trying his ideas. Doing so will make him feel more. Using his same session and with too many clients will limit ideas and showing your excitement your versatility. Even if it is successful, using the same pose too many times in the same session and with too many clients will limit your versatility and drive away potential new clients. Also, the pose may not work for everyone. You must have a full arsenal of poses to choose from for each individual client and situation.
Learn from your experi- ence in real sessions. Do keep a file of successful poses. Make simple photocopies of your favorites and toss them in a box. In no time at all you will have a valuable database to refer to for future sessions as well as for your next illustrated marketing piece. Do be aware of the success of certain poses. You will find that poses that may not be your particular favorite may be your best seller! Again, analyze the pose and try to determine the basis for its suc- cess.
Obviously, you should use this pose again, but also try to adapt it to different situations. Do listen to feedback positive and negative about your poses. If you receive consistent comments about a certain hand pose, prop, etc. You may have a great pose, but it may be ahead or behind what the cur- rent times require. Certainly, it is possible to capture a great photograph of a per- son or animal and make a great portrait without structured posing.
Many photographers have made a great living, specializing in candid-style photography, especially Posing goals can be categorized into three categories: wedding photographers. But if you compliment, correct, and convey. The photographer had done his homework, studied the situation, and had a preconceived image in mind prior to the arrival of the sub- ject s. Thus, pulling the odds into his favor to get that special image.
He had a goal, which he wished to achieve, although it may be camouflaged by the spontaneity of the event. Successful poses also have goals.
Posing goals can be catego- rized into three categories: compliment, correct, and convey. These goals are introduced here and will be illustrated in the upcoming chapters. Under most circumstances, a quality portrait should make the subject look her absolute best possible.
Some poses are necessary to minimize the appearance of a certain flaw: a crooked nose, lazy eye, scar, etc. Possibly the most elaborate goal of a pose is to convey some message, theme, or mood about the subject or her place in the image scene.
First and foremost, a good pose will show the per- sonality of the subject and record more than her physical attributes. The placement of the eyes can control the mood of the entire portrait. A simple tip of the head and shoulders can imply masculinity or femininity. A constant challenge in portraiture is determining whether the pose connotes masculinity or femininity and adjusting accordingly.
Posing a male subject gracefully and flattering him or showing strength and rigidity in a female subject intentionally is not incor- rect.
In general, a lean client mind control tactics. A lean away from the camera and higher camera angles with the subject look- ing up to the camera imply passivity. Occasionally, a pose may convey an activity-type theme: athlet- ic, dance, dramatic, etc. Some poses may be ones that the average person may assume naturally and appear very comfortable in a por- trait, while other poses may be more exotic.
The pose of a model in a commercial image is designed to add interest to the product being sold. It is one thing to help and guide a client, but another to dic- tate and order him. Be courteous at all times when working with your subject. Real courtesy is a combination of your attitudes, your phrases, and your behavior. Saying something nice in an insincere tone as you look away from someone is phony and not real courtesy. Experience will help provide you with valuable information to refer to in various situations with different people, animals, locations, climates, etc.
But finding the proper presentation style neces- sary for each individual situation will be a dynamic process. Next, Part II will help you physically build a portrait with your subjects who you have mental- ly prepared for their portrait experience. You will find that once you have tried and tested a num- ber of poses for the individual subject, posing couples or groups will assemble like a puzzle, with a few compositional guidelines.
We can experiment and test different films, light sources, and filters until we achieve results we are satisfied with and standardize these elements in our camera room. We can have them dress in the same with your client.
Every subject is different. Following is a system based upon a few basic concepts and a method for arranging key posing points and posing lines that you can use for almost any subject, and still maintain the flexibility to make each image personalized.
But some features may attempt to hide themselves until your film is processed and your prints are finished. So, during your pre-portrait consultation, or as you are greeting your subject, take mental notes of any certain fea- tures that should be exploited or hidden.
Often, the customer may be self-conscious about a certain feature or defect and tell you, directly or indirectly, about her concern. We start with a three-dimensional subject and finish with a two-dimensional piece of paper. Of course, depth is compressed into the height and width dimensions. We must be aware of how the depth is compressed and whether or not it will flatter our subject or not. You can use differ- ent camera angles and different focal length lenses. A low camera We start with a three-dimensional subject and finish angle can make a subject appear abnormally tall, while a high camera with a two-dimensional piece of paper.
For example, if your subject is conscious of his weight, use a high camera angle above his head to make his body appear smaller, focusing atten- tion on his eyes. Also, the high angle will force him to raise his head and stretch his neck slightly and reduce the appearance of extra chins.
A wide-angle lens used close to the subject can make him appear very large, but when used at a distance, can make him appear very small. Fish-eye lenses distort all dimensions, so careful posing is necessary to compensate.
It will produce the most believable relative image size of a subject. The most accepted cam- era angles are: eye level for head and shoulders portraits, chest level for three-quarter length portraits, and waist or slightly above waist level for full length portraits. Certainly other levels can be used very effectively. The most important point to remember is to avoid using one camera angle for all purposes. Proper use of lighting through control of highlight and shad- ow areas is possibly the best way to depict the third dimension, but it is subject to the effects of different camera angles and lenses.
When you over-extend one of your legs, for exam- bench, etc. Does it hurt, or does he just not like the pose? The following are some basic posing ideas which show how body mechanics, gravity, and posing interrelate: Positioning.
Positioning the subject includes the positioning of eight sections of the body that in and of themselves do not move. Jack Hamm, author of many terrific how-to drawing books, iden- tified these sections as the head, neck, chest, waist, hips, thighs, legs, and feet. Gravity Point. Specifically, effective posing is the positioning of these sections from the ground, or point where gravity has its great- est effect on the body, up to the eyes.
The gravity point is usually the ground, but it may be different. If a subject is sitting, the grav- ity point is transferred from the ground to the seat of the chair. Join the plastic surgeons in the fight against the effects of gravity! First, identify the gravity point. Second, direct the subject show the pose to her by doing it your- self to stand or sit taller to pull her away from the source of gravi- ty, thus decreasing the size of the gravity point.
Muscles will be stretched and become more defined and attractive, and less of the subject will be compressed against the gravity point. Sitting at the edge of a chair, bench, etc.
A great portraiture instructor, Len Levy, illustrated the dif- ference by having a model sit normally, and then tell her to stand up and then to not sit so fast, but to sit half-fast. Reducing the gravity point will naturally force the subject to shift their weight one way or another to achieve comfortable bal- ance. Shifting the weight to one foot or buttock will continue to enhance the pose.
Good posture in a pose is recorded as good attitude in a portrait. Often, reducing the gravity point and shifting the weight will encourage good posture. Sometimes, added direction may be necessary to polish the pose with proper posture.
The subject can flex the muscle slightly or simply improve her posture by sitting or standing more erect.
Do not over-pose to where the subject appears too straight and stiff. Arranging the distinct parts of the positional elements that relate directly with posing.
The use of diagonals, triangles, and balance are three compositional elements that relate directly with posing. This is backwards, for two reasons: 1. The subject will undoubtedly move his head and eyes when you have him move other parts.
The added time and adjustment will only come at the expense of losing the vital spontaneity of his expres- sion. You must work up to the expression in a fluid manner, not back and forth.
Understanding natural balance, weight distribution, and center of gravity is critical in posing. Bottom: Positioning the body in an S-curve left creates a graceful feel, while a C-curve position right communicates a stronger message. One goes up, the other goes down. Jack Hamm found that a line running through the pit of the neck and drawn perpendicular to the floor shows where the feet must be placed in order for the pose to look comfortable.
Step back and view the pose as a whole and determine whether it is conveying the themes you intended compositionally. Perfect, even, centrally located symmetry is usually regarded as boring. Think of the eight body sections men- tioned earlier and decide whether they are arranged to form a graceful S-curve or at least a zigzag, lightning bolt type pattern or a strong C-curve. Watch for triangles and diagonal lines. Triangular composition creates balance, which makes the subject s more relaxed and the resulting image more pleasing.
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