Pose Your Best - 1
Part 1
How often when scrolling on your phone has a photo made you pause and take a second look to admire a perfectly posed subject in great lighting? How often have you take the time to take apart what makes that photo great, so that you can apply it to your own physical stance the next time you have your photo taken? Never? Lets break down the do’s and don’ts for your next photo session.
Light Source Positioning
If outdoors, angle the sunlight so that it comes from behind your subject for the most flattering portrait. This will reduce the model squinting, and will help their face feel relaxed. The light often will illuminate the hair in a halo of light which is beautiful to behold and enhance in post edit.
Scheduling the photo session in the first 2 hours of the last 2 hours of the day will help you control the angle of the sunlight.
If the light comes from the side you will get dramatic shadows, which can be used for dramatic effect but is often not the ideal portrait the client is looking for.
If the light is coming front overhead at noon it may cast dark shadows under your clients eyes, this is to be avoided. Try to compensate with a strong flash, and place your subject in the shade to protect them from strong shadows.
If you are in a studio, play with using the studio lights to highlight positive parts of the subject. Avoid any hot spots with the lights. Create appealing shadows to enhance positive features, such as a defined jawline.
Head shots
Confidence is key in any headshot portrait. To achieve this, I want you to imagine there is an invisible string connected to the back crown of your head, and it is pulling you upward. This pull straightens your posture and elongates your upper back and your neck. However, leave your chin directed slightly down, or towards the camera, but not up. Take a full breath so your chest is out, and bring your shoulders 2 inches back and let them drop down.
Head and Eye Positioning
Play with alternating pointing your collar bone towards/away from the camera, point the chin towards/away from the camera, and have the eyes look both towards and away from the camera. When everything is directed at the camera the level of connection is strong and you see the personality of the model. When all three are pointed away from the camera you feel the aloofness and disconnected. A combination of all eleven possibilities will give different levels of connection to the portrait. Combine that will a straight head or a tilted head, and you have twenty two combination possibilities just with head, neck, and eye positioning.
Female Portrait
While your spine is straight, shoulders back, and head is up, your full breath is holding your chest up and out, hold your stomach muscles firm, so that your stomach is taunt. Allow your lower back to create a succulent curve. The lower curve of the female back is natural and noticeable in photos from both behind and at a side angle. In seated photos as well, make sure to retain this posture.
Hold at least one arm slighly away from the body, so that the camera can see a negative space between the waist and the arm. This gap will help identify the waist line and keep you looking less boxy and more slender. Have the arm flat against the body and facing the camera straight on creates a wider appearance.
Natural Body Positions with Movement
Why do people look stiff when standing still for poses, yet look natural and relaxed when walking? How do we coach and create that look? As the model or the photographer, allow all the weight to rest on one leg, allowing the other leg to bend naturally without weight. Turn your body at a slight angle, so your shoulders do not directly face the camera, but away at a 30 degree angle. Another option is to purposefully cross one foot over the other, placing the weight on the back foot, as though you are walking. Pair the leg cross over with sitting on a bench, or leaning casually against a wall or palm tree. If you are concerned about the size of your legs, just cross your feet at the ankle, which will make you look curvy, but not wide.
