Introduction: Posing with Confidence |
|
1 | (12) |
|
|
4 | (4) |
|
Is Pose a Four-Letter Word? |
|
|
6 | (1) |
|
|
7 | (1) |
|
|
7 | (1) |
|
Rules Are Meant to Be Broken |
|
|
8 | (1) |
|
|
9 | (2) |
|
|
11 | (2) |
|
1 Posing and How Your Camera Sees |
|
|
13 | (22) |
|
Posing, Lens Choice, Perspective, and How Your Camera Sees |
|
|
14 | (15) |
|
The Rule of Perspective That Changes Everything |
|
|
14 | (1) |
|
Lens Choice and Focal Length |
|
|
15 | (3) |
|
Perspective and Pose: Body Placement |
|
|
18 | (4) |
|
Perspective and Camera Angle |
|
|
22 | (2) |
|
Lens Choice to Exaggerate Camera Angle |
|
|
24 | (2) |
|
Camera Angle and Subject Height |
|
|
26 | (3) |
|
|
29 | (6) |
|
2 Posing and Directing the Face |
|
|
35 | (26) |
|
|
36 | (10) |
|
|
36 | (1) |
|
|
37 | (2) |
|
|
39 | (1) |
|
Your Subject's "Better Side" |
|
|
39 | (4) |
|
|
43 | (3) |
|
Elements to Consider in a Headshot |
|
|
46 | (12) |
|
|
46 | (2) |
|
|
48 | (2) |
|
|
50 | (4) |
|
|
54 | (4) |
|
|
58 | (1) |
|
|
58 | (3) |
|
|
61 | (38) |
|
|
62 | (4) |
|
|
62 | (1) |
|
|
63 | (1) |
|
The Problem: Reduced Height |
|
|
64 | (1) |
|
The Solution: Improve Posture |
|
|
64 | (2) |
|
|
66 | (6) |
|
The Problem: Arm Pointing at Camera |
|
|
66 | (1) |
|
The Solution: Adjust the Arm |
|
|
66 | (2) |
|
The Problem: Body Facing Camera |
|
|
68 | (1) |
|
The Solution: Adjust the Camera |
|
|
68 | (2) |
|
The Problem: Subject Facing Camera |
|
|
70 | (1) |
|
The Solution: Rotate the Subject |
|
|
70 | (2) |
|
|
72 | (8) |
|
The Problem: Arms to the Sides Create Mergers |
|
|
72 | (1) |
|
The Solution: Create Negative Space |
|
|
72 | (3) |
|
The Solution: In-Body Posing |
|
|
75 | (2) |
|
The Solution: Using Arms to Contour |
|
|
77 | (1) |
|
The Problem: Baggy Clothing Creates Mergers |
|
|
78 | (1) |
|
The Solution: Adjust the Clothing |
|
|
78 | (1) |
|
The Solution: Adjust Hands |
|
|
79 | (1) |
|
|
80 | (4) |
|
The Problem: Distracting Hands; Palm or Back of Hand Toward Camera |
|
|
80 | (1) |
|
The Solution: Place Pinky Toward Camera |
|
|
80 | (2) |
|
|
82 | (1) |
|
The Solution: Relax the Hands |
|
|
82 | (1) |
|
The Problem: Covering the Jaw |
|
|
83 | (1) |
|
The Solution: Adjust Hand Placement |
|
|
83 | (1) |
|
The Problem: Hands Pressed Against Face/Body |
|
|
84 | (1) |
|
The Solution: Gently Place Hands |
|
|
84 | (1) |
|
|
84 | (6) |
|
The Problem: Tense Serious Face |
|
|
85 | (1) |
|
The Solution: Relax Head and Lips |
|
|
85 | (1) |
|
The Problem: Deer-in-Headlights Look |
|
|
86 | (1) |
|
The Solution: Draw Out Emotion or Expression with Eyes |
|
|
86 | (1) |
|
Expression Tips and Tricks |
|
|
87 | (3) |
|
|
90 | (9) |
|
4 10 Steps to Posing Success and Posing Variations |
|
|
99 | (16) |
|
10 Steps to Posing Success |
|
|
100 | (15) |
|
Step 1 Select a Base Pose |
|
|
100 | (1) |
|
Step 2 Adjust the Pose or Change Angles to Draw Attention To or Away From Body Parts |
|
|
100 | (2) |
|
Step 3 Check for Foreshortening and Mergers |
|
|
102 | (1) |
|
Step 4 Ensure Good Hand Position and Posture |
|
|
103 | (1) |
|
Step 5 Engage the Subject to Get a Good Expression |
|
|
104 | (1) |
|
|
104 | (1) |
|
Step 7 Vary Your Subject's Hands, Expression, and Shoulder Placement to Create New Poses |
|
|
104 | (1) |
|
Step 8 Try Different Camera Angles, Camera Positions, Crops, Depths of Field, and Lens Choices for Variety |
|
|
105 | (5) |
|
|
110 | (1) |
|
Step 10 Analyze Your Images and Learn from Your Successes and Mistakes! |
|
|
110 | (5) |
|
|
115 | (52) |
|
Guidelines for Posing Women |
|
|
116 | (36) |
|
Emphasize Assets, Reduce Weaknesses |
|
|
116 | (8) |
|
|
124 | (10) |
|
Create Interest with Asymmetry and Levels |
|
|
134 | (4) |
|
Pose Your Subject to Create Mood and Drama |
|
|
138 | (9) |
|
Use Narrowing Points to Create Curves and an Hourglass Shape |
|
|
147 | (4) |
|
|
151 | (1) |
|
|
152 | (4) |
|
|
152 | (1) |
|
|
152 | (1) |
|
|
153 | (1) |
|
|
154 | (2) |
|
|
156 | (9) |
|
|
165 | (2) |
|
|
167 | (38) |
|
Guidelines for Posing Men |
|
|
168 | (27) |
|
|
168 | (7) |
|
|
175 | (6) |
|
Shoulders Define Broadness |
|
|
181 | (4) |
|
Hands and Feet: Direct Them! |
|
|
185 | (5) |
|
|
190 | (5) |
|
|
195 | (8) |
|
|
203 | (2) |
|
|
205 | (44) |
|
Guidelines for Posing Couples |
|
|
206 | (19) |
|
For Romance: Create Multiple Points of Interaction |
|
|
206 | (10) |
|
Go Asymmetrical---Avoid Mirrored Poses |
|
|
216 | (9) |
|
"Making the Rounds" for New Pose Ideas |
|
|
225 | (14) |
|
The Four Bases for "Making the Rounds" |
|
|
225 | (1) |
|
Creating Variety Through Digits and Expression |
|
|
226 | (4) |
|
Changes in the Photographer's Settings |
|
|
230 | (8) |
|
Quality and Expression Over Quantity |
|
|
238 | (1) |
|
|
239 | (8) |
|
5 Go-To Poses for Couples |
|
|
247 | (2) |
|
|
249 | (34) |
|
Guidelines for Posing Curves |
|
|
250 | (23) |
|
Exaggerate Pose and Perspective |
|
|
250 | (5) |
|
Choose Clothing Carefully |
|
|
255 | (4) |
|
|
259 | (4) |
|
|
263 | (6) |
|
Cropping and Narrowing Points Are Your Best Friends |
|
|
269 | (4) |
|
|
273 | (8) |
|
|
281 | (2) |
|
|
283 | (36) |
|
Guidelines for Posing Families |
|
|
284 | (25) |
|
|
284 | (9) |
|
|
293 | (3) |
|
|
296 | (7) |
|
|
303 | (1) |
|
|
303 | (6) |
|
|
309 | (8) |
|
5 Go-To Poses for Family Portraits |
|
|
317 | (2) |
|
|
319 | (40) |
|
Guidelines for Posing Boudoir |
|
|
320 | (28) |
|
|
320 | (11) |
|
Showcase Strengths, Downplay Weaknesses |
|
|
331 | (10) |
|
Hands Caress the Body and Direct the Eye |
|
|
341 | (1) |
|
|
342 | (2) |
|
|
344 | (4) |
|
|
348 | (9) |
|
5 Go-To Poses for Boudoir |
|
|
357 | (2) |
|
|
359 | (30) |
|
Guidelines for Maternity Portraits |
|
|
360 | (18) |
|
3/4 or Profile to Emphasize Bump |
|
|
360 | (2) |
|
Bend or Elevate the Front Leg |
|
|
362 | (4) |
|
|
366 | (4) |
|
All Rules of Posing and Perspective Still Apply |
|
|
370 | (2) |
|
Include the Parental Partner in Supportive, Framing Poses |
|
|
372 | (6) |
|
|
378 | (8) |
|
5 Go-To Poses for Maternity |
|
|
386 | (3) |
|
12 Bringing It All Together |
|
|
389 | (44) |
|
|
391 | (1) |
|
Subject #1 Slender Young Woman |
|
|
392 | (10) |
|
|
402 | (10) |
|
|
412 | (6) |
|
|
418 | (7) |
|
|
425 | (8) |
Conclusion |
|
433 | (1) |
Index |
|
434 | |