Nikon D2Xs and 24–70mm lens. 7. an in-depth examination of how to connect with them and draw Portrait Phot Posing Techniques for Glamour Photography. Download the PDF to take with you on your next shoot! to portrait photography with over posing ideas for couples, men, women, children. This article shows the most photogenic poses for men and women. This is a great place for struggling photographers looking for great tips. This article was.

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ing portraits of women, where the photographer may be called on to create anything into poses for standing subjects, seated subjects, and reclin- ing subjects. portraiture by trying my hand at fashion photography, my first commercial venture. . I enjoy photographing women in a kneeling pose because. Picture Perfect Posing: Practicing the Art of Posing for Photographers and Models . Roberto Valenzuela. New Riders. Find us on the Web at

Try to get them as relaxed as possible before taking any photos. This is probably the most important one, so you want to make sure you nail it without rushing. And while it might take a couple poses before your subject looks and feels the most natural, waiting until the end to frame up the perfect pose can be tiring. Have your subject turn her shoulder towards you.

Then have her switch. Medium and Full Body Shots Step back or zoom out to get a wider shot of your subject. Try having her smile, and then have her stop smiling. Sometimes serious looks are more powerful and may be what your client wants. Sit Back and Relax As suggested with couples, having your subject sit on the floor can result in some great photos.

Play with the positioning of the arms and legs. A great photographer will try to capture moments like these to paint a bigger picture and tell a story about the subject. If you want to see all 25 posing ideas for women in full resolution, easy-to-see pages, download the PDF workbook at the top or bottom of this article. Posing Ideas for Men This part of this guide covers basic posing ideas for photographing men.

Many of the shots are similar to those of the women.

Do they want to seem strong? Not only will posing your subject in a different way change this message, but so will the angle of the camera. Shooting from below will make your subjects look more imposing — great for corporate-type headshots.

On the other hand, many clients find shooting from above more flattering. As always, giving options is a good idea!

Photographed from above, have your subject relaxed, looking up at you. This example shows the subject leaning slightly forward. This would be a great shot to have him stop smiling, to get a more serious portrait.

The Casual Hip Stance A more relaxed look would be to have the subject place a hand on his hip or his thumb in his pocket. While it can feel awkward, usually the resulting portrait looks great!

Full Body Portraits As with any portrait session, try getting some wider shots. This casual stance captured in a wider shot, perhaps with a lot of negative space , can be a great option for all kinds of uses. If you want to see all 25 posing ideas for men in full resolution, easy-to-see pages, download the PDF workbook at the top or bottom of this article. Posing Ideas for Kids This part of the guide covers basic posing ideas for photographing children.

You can use many of the poses from above, but here are a few additional ideas for kids. Eye Level Importance When photographing kids, one of the most important things is to get down to their eye level. Notice how the photo above has the girl putting both hands up to her cheeks. Try different poses like this with the kid either standing or sitting at a table. Let Them Be Silly Depending on the kid you are photographing, you might open up with this one.

Just let them be silly. Have them make faces at you. Make them laugh. Grab a Prop Have the kids bring one of their favorite toys — something that is important to them. Perhaps it is in the foreground in focus, while the kid is out of focus in the background. Get creative with it! If you want to see all 25 posing ideas for children in full resolution, easy-to-see pages, download the PDF workbook at the top or bottom of this article.

How you photograph a group can change depending on how many people are in the group. Also, finding a suitable lighting situation and background can be a bit tough.

In terms of ordering people from left to right, try different combinations. Start with the parents in the middle. Instead have them move forward toward the front edge of the seat and sit with good posture and a slight bend forward at the waist.

Notice that he has her sit on the edge of the sofa with her back arched for good posture. Her hands are hidden behind her bouquet and she is positioned at a degree angle to the camera to take good advantage of the split lighting. Posing Basics 25 When a man is seated for a portrait, his tuxedo jacket or suit coat should be unbuttoned to prevent it from looking too tight across the torso.

Also, he should not be sitting on the bottom of the coat, pulling it up in the front. His shirt cuffs should be pulled down in the jacket arms in order to be visible. When the shoulders face the camera straight on, it makes people look wider than they really are. It can also create a static composition. Note: This rule is sometimes broken with very thin subjects or when a very assertive look is desired, as in fashion portraiture. This can be achieved in a number of ways. For instance, in a standing portrait, instructing the subject to place his or her weight on their back foot will create a gently sloping shoulder line.

In a seated head-and-shoulders portrait, having the 26 Master Posing Guide for Wedding Photographers LEFT—When the hands are raised to waist level and the elbows extended, it produces a triangular base for the composition. Notice that the head and neck axis are ideal in this John Poppleton portrait. The shoulders produce a degree angle, which is followed by the line of the head to produce a very elegant portrait.

Joints Never frame the portrait so that a joint—an elbow, knee, or ankle, for example—is cut off at the edge of the frame.

This sometimes happens when a portrait is cropped. Instead, crop between joints, at mid-thigh or mid-calf, for example. When you break the composition at a joint, it produces a disquieting feeling. Separating the arms from the body slims the figure and makes the pose and composition more elegant. This tilt of the shoulders introduces a dynamic line into the composition. This is commonly achieved by asking the subject to separate their arms from their torso by creating a bend in the elbows.

In a seated portrait, what normally happens is that the subject will move his or her joined hands closer to the waist, producing slightly projecting elbows.

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In a standing portrait, men can place their hands in their pockets to produce the triangular base; a bride can bring her bouquet up to her waistline to produce the same effect. This pose also creates a slight space between the upper arms and torso. This helps slim the appearance of both the arms and the torso, which can look wider than it is when the arms lay flat against it.

Thus, they appear larger.

One thing that will give hands a more natural perspective is to use a longer lens than normal. Although holding the focus of both hands and face is more difficult with a longer lens, the size relationship between them will appear more natural. Additionally, if the hands are slightly out of focus, it is not as crucial as when the eyes or face are soft.

Basic Principles. It is impossible here to cover every possible hand pose, so it is necessary to make a few generalizations and keep in mind that these are just that—generalizations, not hard and fast rules : 1.

This distorts the size and shape of the hands. Instead, keep the hands at an angle to the lens. Photograph the outer edge of the hand when possible. This gives a natural, flowing line to the hands and eliminates the distortion that occurs when hands are photographed from the top or head-on. This image, made in the ultra-soft light of a portico, displays the wild colors of her bouquet. Photograph by Noel Del Pilar.

Rick made sure to photograph the edges of the hands and extend the fingers to give the hands length and grace. Notice, too, the gentle bend of the wrist in each hand. Bend the wrist slightly so there is a gently curving line where the wrist and hand join. Photograph the fingers with a slight separation in between them. This gives the fingers form and definition.

When the fingers are closed together, they appear two-dimensional. Here are several variations for men and women. Some similarities between the posing are that the edge of the hand is photographed more often. The fingers are often separated so they do not appear to be one single unit.

The break of the wrist is gentle, rather than abrupt. Obviously, the type of portrait and the subject must also be considered. For example, the hands of a female soldier in uniform would more logically be posed to convey strength than delicate grace. Ask her to place the bouquet in front of her body with her hands behind it. Make sure she holds it high enough to put a slight bend in her elbows, keeping her arms slightly separated from her body. Getting this hand pose just right is especially important in the the formal portraits of the bride.

With a standing woman who is not holding a bouquet, placing one hand on a hip and the other at her side is a good standard pose. Always create a break in the wrist for a more dynamic line. When photographing a man in a standing pose, folding his arms across his chest produces a good, strong look.

Remember, however, to have the man turn his hands slightly, so the edge of the hand is more prominent than the top of the hand. Also, remember to instruct the man to bring his folded arms out from his body a little bit. This slims down the arms, which would otherwise be flattened against his body, making them and him appear larger. Separate the fingers slightly.

Three Views of the Face There are three basic head positions in portraiture: the seven-eighths, threequarters, and profile views. With all three of these head poses, the shoulders should be at an angle to the camera, as noted above. Seven-Eighths View. The seven-eighths view occurs when the subject is looking just slightly away from the camera.

Wedding Photography Poses

In other words, you will see just a little more of one side of the face than the other when looking through the camera. Three-Quarters View. In the three-quarters view sometimes called the two-thirds view , the far ear is hidden from the camera and more of one side of the face is visible. With this type of pose, the far eye will appear smaller because it is farther away from the camera than the near eye.

Therefore, it is important when posing the sitter in a three-quarters view to position him or her so that the smaller eye people generally have one eye that is slightly smaller than the other is closest to the camera. This way, the perspective is used to make both eyes appear to be the same size in the photograph.

When creating this view of the face, it is important that the eye on the far side of the face be contained within the facial area.

This is accomplished by ensuring that a small strip of skin along the far temple is visible in the portrait. Photograph by Jose Villa. Photograph by Marc Weisberg. It exposes most of the one side of the face, but both eyes are visible.

RIGHT—Although this bride is flawless in her appearance, everyone has one eye smaller or larger than the other. Positioning the small eye closest to the camera allows natural perspective to correct the size differential between the eyes. Profile View. In the profile, the head is turned almost 90 degrees to the camera. Only one eye is visible.

When posing your subject in a profile position, have him or her turn their head gradually away from the camera position until the far eye and eyelashes just barely disappear from camera view. If Posing Basics 31 you cannot see the eyelashes of the far eye, then you have a good starting point for a profile pose.

When the face is not tilted, the implied line is straight and parallel to the bottom edge of the photograph, leading to a static feeling. With men, the head is more often tipped in the same direction as the far shoulder i.

With women, the head is often at a slightly different and opposing angle i. It takes an elegant bone structure and a disciplined pose to pull it off effectively. Photograph by Yervant. LEFT—Even though the shoulders are basically square to the camera, the head tilt, with the bride throwing her head back in laughter, makes this striding portrait come to life. Photograph by Parker Pfister. Note that his shoulders are also turned to a different angle than his face.

The Eyes The area of primary visual interest in the human face is the eyes. The wedding photographer must live by the notion that the eyes are the most expressive part of the face. If the subject is bored, tired, or uncomfortable, you will see it in his or her eyes. If they enjoy it, their eyes will smile—one of the most endearing expressions a human being can make. Posing Basics 33 When optimally positioned, the colored part of the eye, the iris, should border the eyelids.

In other words, there should not be a white space between the top or bottom of the iris and the eyelid. If there is a space, have the subject lower his gaze. Pupil size is also important. If working in bright light, the pupil will be very small and the subject will look beady-eyed. A way to correct this is to have them shut their eyes for a moment prior to exposure. This allows the pupil to return to a normal size for the exposure.

Just the opposite can happen if you are working in subdued light. The pupil will appear too large, giving the subject a vacant look. In that case, have the subject stare momentarily at the brightest nearby light source to close the pupil.

The line of the eyes should normally be at least slightly tilted i. This is accomplished by having the subject tilt their head. Chin Height Be aware of the effects of too high or too low a chin height. Note that, here, the eyes are at a slight slant to produce a good set of dynamic lines within the portrait. The photographer, Joe Photo, keeps the bride engaged with conversation.

500 Poses for Photographing Women A Visual Sourcebook for Portrait Photographers

The subject may also look depressed. A medium chin height is usually the best choice. Pay close attention to the mouth to be sure there is no tension in the muscles around it.

Notice that the pose is pleasant but not smiling. The line of the eyes forms a straight line, which is usually not a good idea because it creates a static line in the composition.

Here, however, the eyes are the focal point of the composition and their perfect shape and subtle olive coloring are emphasized by the pose. Pay close attention to the mouth to be sure there is no tension in the muscles around it, since this will give the portrait an unnatural, posed look. Again, an air of relaxation best relieves tension, so talk to the person to take his mind off the session.

It is a good idea to shoot a variety of expressions, some smiling and some serious—or at least not smiling. People are often self-conscious about their teeth and mouths, but if you see that the subject has an attractive smile, get plenty of shots of it. One of the best ways to produce a natural smile is to praise your subject.

Tell them how good they look and be positive. With sincere flattery, however, you will get the person to smile naturally and sincerely and their eyes will be engaged. When everything is working, you get a beautiful expression like this.

Photograph by Gordon Nash. If you bring a bride to your studio for a formal portrait, it is a good idea to have a makeup artist on hand. Combined with a subtle but effective retouching effort, this is a first-class bridal portrait. His enthusiasm is contagious and his affability translates into attentive subjects. While it helps any wedding photographer to be able to relate well to people, those with special gifts should use them to get the most from their clients. It will be necessary to remind the subject to moisten his or her lips periodically.

This makes the lips sparkle in the finished image, as the moisture produces tiny specular highlights on the lips. Some people also have a slight gap between their lips when they are relaxed. If you observe this, gently ask them to bring their lips together. Laugh Lines. An area of the face where problems occasionally arise is the frontal-most part of the cheeks—the parts of the face that crease when a person smiles.

Some people have pronounced furrows, or laugh lines, which look unnaturally deep when they are photographed smiling. You should take note of this area of the face. If necessary, you may have to increase the fill-light intensity to fill in these deep shadows, or adjust your main light to be more frontal in nature. Jeff used window light and had the bride extend her left leg in order to create a fuller line to the train.

The most obvious thing not to do is photograph a long or large nose in profile. Long noses can be shortened by photographing from below; conversely, a short or pug nose will be lengthened by using a higher camera angle.

Crooked noses should be photographed with the subject in a three-quarter view, so the crookedness is not visible from the camera position. Another method of dealing with a longish nose is to use a longer lens, which compresses facial features.

Especially in the seven-eighths or three-quarters view, a long nose can be made to look more natural by using a telephoto. Styling and Posing Work Together Makeup. Professional hairstyling and makeup are essential to an elegant wedding portrait, but the stylists should be familiar with what works photo38 Master Posing Guide for Wedding Photographers graphically.

The Art of Posing Newborns

With makeup, a little goes a long way, since the photographic process increases the contrast of the scene. Eye makeup should be blended with no sharp demarcation lines between colors. Foundation should be blended carefully over the jaw line and onto the neck, avoiding an abrupt color change between the face and neck.

A gloss lipstick is also important, as is eye shadow that defines the eyes but does not call attention to the color of the eyelids. Hairstyles should be made to endure a number of climactic changes—outdoor sun with breeze, indoors with air conditioning, etc. However, the hairstyle should not fall apart the minute the bride walks out into a breeze.

Usually the veil helps control the look. The Train. Formal wedding dresses often include flowing trains. It is important to get several full-length portraits of the full train, draped out in front of the bride in a circular fashion or flowing out behind her. To make the train look natural, position it as desired, then pick it up and let it gently fall to the ground. Stairs are excellent for displaying the full train because they allow it to flow down naturally. Full-length seated portraits are also popular.

In these, the train can be draped out in front of the bride at an angle. Note: If you decide to make a full-length seated portrait, zoom in and make a few close-ups of the same pose. These can be used for newspaper announcements of the wedding. ABOVE—Having the bride stand alone on the stone bench shows off the train almost better than had it been trailing behind her as she walked up the aisle.

This view shows the length and shape of the train as well as providing a beautiful full-length view of the bride. Photo by Brett Florens. Here, Marcus Bell combined a bit of grain, noise, and blur to make it a very misty, romantic portrait. The checklist guarantees that the posing will at least start in a formal tone. He considers correct posing to be one of the most difficult things to achieve in a portrait of the bride. No matter what style your clients require—formal, relaxed, generic, or fashion—the basics are always called upon.

This will help to create shape and is more flattering to the sitter. By using this flattering technique, you will help hide any abnormal nose shapes and sizes. The next important feature is the hands. If you prefer a formal feel, ask your sitter to pretend to hold a pen and raise the hand slightly at the wrist. Turn the hand away from the camera so that the thumb side is facing toward the body.

The shoulders here are square to the camera, but the head is at a degree angle with the eyes looking back toward the lens. Just a bit of the expertly posed hands are visible. The pose turns the bride away from the light so that the frontal plane of the face is not lit—an unusual twist to the pose. Many pros use the veil as a compositional element in portraits. Photographing the bride through her veil creates a lovely image. In this portrait by Marcus Bell, the image was made high key by overexposing and underprinting.

It is beautiful by virtue of the image details it eliminates. The Veil. Make sure to get some close-ups of the bride through her veil. It acts like a diffuser and produces romantic, beautiful results. To do this, lightly stretch the veil so that the corners slant down toward the lower corners of the portrait. Subconsciously, they shorten their noses, imagine they have more hair than they really do, and in short, pretend they are better looking than they really are.

A good portrait artist knows this and knows how to reflect the same level of idealization in portraits of the subject. As a matter of procedure, the photographer analyzes the face and body and makes mental notes as to how best to light, pose, and compose the subject to produce a flattering likeness.

Because they are always shooting under pressure, wedding photographers must master these techniques to such a degree that they become second nature. Camera Height and Perspective Camera Height. When photographing people with average features, there are a few general rules that govern camera height. These rules will produce normal perspective with average people.

In each case, notice that the camera is at a height that divides the subject into two equal halves in the viewfinder. Controlling the Perspective.

As the camera is raised or lowered, the perspective the size relationship between parts of the photo changes. By controlling perspective, you can alter the physical traits of your subject.

When the perfect camera height for a head-and-shoulders portrait is used, the face is well proportioned and oval—as is shown here. Conversely, if you lower the camera, you reduce the size of the head and enlarge the size of the legs and thighs.

If you find that after you make a camera-height adjustment for a desired effect there is no change, move the camera in closer to the subject and observe the effect again.

Tilting the camera down when raising the camera and up when lowering the camera increases these effects. When you raise or lower the camera in a head-and-shoulders portrait, the effects are even more dramatic. Raising the camera lengthens the nose, narrows the chin and jaw lines, and broadens the forehead. Lowering the camera shortens the nose, de-emphasizes the forehead, and widens the jaw while accentuating the chin. Correcting Specific Problems This section deals with posing methods to correct specific physical traits you will encounter with everyday people.

If you determine that a person has an unusually narrow face, for example, knowing what to do to correct that trait will be invaluable—after all, the key to a more appealing portrait might be as simple as turning the person into the light or away from it to broaden or narrow the face. Overweight Subjects. Dark clothing will make a person appear ten to fifteen pounds slimmer.

While this is is something you could recommend for the Dark clothing will make a person appear ten to fifteen pounds slimmer. A good rule of thumb when making a three-quarter-length portrait is to keep the camera back parallel to the plane of the subject.

This reduces subject distortion and helps to keep horizontal and vertical lines true. Photograph by Kevin Jairaj. To the left of the image are a set of tools that let you warp, pucker, or bloat an area simply by clicking and dragging. There is even a tool that freezes an area, protecting it from the action of the tool.

When you want to unprotect the area, simply use the thaw tool. If you notice that you have overdone it, however, there is even a reconstruct tool that undoes the effect gradually—like watching a movie in reverse.

When this happens, you have gone too far. It is always better to approach this type of reconstructive retouching with a little feedback from your subject and a lot of subtlety. The liquify function is like a separate application by itself. It will take some practice and experimentation to perfect the techniques. However, for the most commonly needed refinements of subject features, it is a snap. Therefore, careful posing will be an important tool for addressing the issue.

Begin by using a pose that has the subject turned at a degree angle to the camera. Never photograph a larger person head-on; it will only accentuate their size. Standing poses are more flattering for overweight subjects. Seated, excess weight accumulates around the waistline. Selecting a pose that turns your subject away from the main light is also desirable, as this will put more of the body in shadow and produce a slimming effect.

Thin or Underweight Subjects. When posing a thin person, have him or her face the camera more directly to provide more width. Selecting a pose that turns your subject toward the main light is also desirable, as this will put more of the body in the light and produce a widening effect.

Elderly Subjects. The older the subject, the more wrinkles he or she will have.

To do this, use the dodge tool at an exposure of 25 percent. Since the whites of the eyes and teeth are only in the highlight range, set the range to highlights in the options bar. For the eyes, use a small soft-edged brush and just work the whites of the eyes— but be careful not to overdo it.

For teeth, select a brush that is the size of the largest teeth and make one pass. That should do it. For really yellow teeth, first make a selection using the lasso tool. Select Neutrals and reduce the yellow. Make sure that the method setting, at the bottom of the dialog box, is set to Absolute, which gives a more definitive result in smaller increments.

Remove yellow in small increments one or two points at a time and gauge the preview. You will instantly see the teeth whiten. Surrounding areas of pink lips and skin tone will be unaffected because they are a different color.

Cleaning up a few of the blood vessels in the eyes, blending the minor imperfections of the skin and a little bit of softening throughout is more than enough.

Photograph by Jerry Ghionis. In general, older subjects should also be smaller within the composition. Even when making a head-and-shoulders portrait, reducing the subject size by about 10—15 from how you might normally frame the image will ensure that the signs of age are less noticeable.

If you have a chance to retake the photo, have the person slide the eyeglasses down on his or her nose slightly. This changes the angle of incidence and helps to eliminate unwanted reflections. One Eye Smaller than the Other. Most people have one eye smaller than the other. This should be one of the first things you observe about your subject. If you want both eyes to look the same size in the image, pose the subject in a seven-eighths to three-quarters view, placing the smaller eye closer to the camera.

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Because objects farther from the camera look smaller and nearer objects look larger, this will cause both eyes to appear to be more or less the same size. If your subject is bald, lower the camera height so less of the top of his head is visible. Double Chins. You can also have the subject tilt their chin upward, tightening the area, and if possible raise the main light so that as much a possible of the area under the chin is in shadow.

Wide Faces. To slim a wide face, pose the person in a three-quarters view and turn them away from the main light. This places the image highlights on the narrow side of the face for a slimmer look. Thin Faces. To round a narrow face, pose the person in a seven-eighths view, keeping as much of the face as possible visible to the camera. Turn them toward the main light to place the image highlights on the broader side of the face for a fuller look.Sometimes it is possible to get the most sincere and memorable shots.

You can take the photos with creative wedding poses of the couple running along the seashore towards their happy family life. Holding the Bride Every lady likes when her man demonstrates strength and gallantry. It would be a great idea to give everyone some time with the camera and see what they come up with!

By controlling perspective, you can alter the physical traits of your subject. Here s a closer look Save this posing guide to your phone or print it out so you can bring it on your next photo shoot!

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