Kingfisher Calendar: The most awaited calendar, Kingfisher Calendar is all set to turn up the heat in Indian youth. The photos from the sexiest photoshoot of the year are out. The ace photographer Atul Kasbekar aka the luckiest man on the planet and the models of the calendar turned up the heat for the most exciting shoot. Check out the complete Full HD Images, Wallpaper of Kingfisher Calendar in the below article and also check models names, bio, wiki, and other details.
This Year , The Kingfisher Swimsuit Calendar features stunning shots of gorgeous and perfectly toned models in contemporary swimwear amidst breath-taking exotic locales like Croatia. She has been a part of most of the elite fashion weeks and has walked the ramp for ace designers like Anamika Khanna, Manish Malhotra, Vikram Phadnis and Rebecca Deewan. She has also worked for brands such as Inayah and Raishma and Asiana Magazine.
A Keralite, born and brought up in Mumbai, Priyanka is a model and actor. Priyanka comes with an impressive resume and has been featured in several ad films. A Marathi, born and brought up in Bangalore, Mitali is based out of Mumbai and has walked the ramp for leading designers. She has been featured in prestigious magazines like Vogue, Grazia, Adorn, Femina etc.
The 16th edition of the kingfishercalendar is here! The photographer has been associated with Kingfisher Calendar photo shoot for more than a decade now.
In fact, he had shot actresses like Deepika Padukone, Katrina Kaif, Bruna Abdullah during their initial modeling days in the industry. Hope this Hot Pictures of Kingfisher Calendar turns the heat on you.
Wacker All photographs by J. MEI Cr. All rights reserved. Published by: Amherst Media, Inc. Box Buffalo, N. Grant Assistant Editor: Barbara A.
The author and publisher will not be held liable for the use or misuse of the information in this book. Posing from the Ground Up. Diagonals, Triangles, and Balance. Key Posing Points. Key Posing Lines. 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. The same idea applies to how individuals are arranged in a group. Be aware that equilateral triangles are more static than triangles with sides of different lengths. Triangular compositions graphic pose. For photographing groups, create balance. Be careful to place the arms and legs in a comfort- you can create diagonals and triangles by able position—not too close or overextended.
Arms and legs are often neglected and are crucial elements of a portrait composi- tionally. Right: Photographing directly from the side may be acceptable in candids, but is usually unflattering in a more formal portrait. Watch for mergers and amputations of arms and legs. Ignoring these distractions will make the two-dimensional image appear uncomfortable. The head and shoulders should form some sort of triangle. The shoulders should present a base for the head.
Photographing the The head becomes like a car teetering at an edge of subject directly from the side may be interesting in a candid or artistic a cliff, ready to fall at any moment.
The head becomes like a car teetering at an edge of a cliff, ready to fall at any moment. Often, when photographing a number of individuals one after the other and there is little or no time to meet with the subject, she will pose stiffly with her shoul- ders raised.
Usually, just telling her to relax her shoulder s will solve the problem. For example, a person with a short upper torso may look hunched-over when sitting, but look great standing. Again, remember the rules of composition are guidelines that will help you create successful images Be ready to break the rules when the right opportuni- most of the time.
But be ready to break the rules when the right oppor- ty presents itself. Just as a tilt of the camera can make straight lines into diagonals, an unbalanced pose can create motion. They are the feet, the hands, and the eyes in order from the ground up.
Each has the power to transmit mood and expression to the camera and onto the portrait. Also, if positioned improperly, each can be dis- tracting and detrimental to the portrait. FEET Rarely are the feet the center of attention in a portrait, except pos- sibly in an advertisement for shoes or foot medication.
But they are critical to the portrait as a whole. A flat foot is not usually interest- ing to look at. When the subject is standing flat-footed, the gravity point is enlarged and the remainder of the body will appear flat. Center: Placing the weight on the toes and raising the heels creates a more dra- matic look. Right: Creating a diagonal line by pointing the toe creates a very graceful appearance.
A foot aimed directly at the camera will appear slim, which may not provide adequate foundation for the body. A foot placed between perpendicular and direct will form a diagonal line and appear more graceful and pleasing. The hands themselves are capable of telling stories and are a means of communication for the deaf.
They can easily make a statement in a portrait. Many great portraits were successful because of the hold, grip, texture, gesture, or touch of a hand. The hand is a combination of the palm, wrist, and fingers.
Unless it is your intention to use the hands to convey a message in the portrait, it is best to put the hands into a neutral, non-expres- sive position. You may even want to hide them.
Especially for women, but for men as well, protruding knuck- Left and Center: Protruding knuckles are les and veins on the back of the hand, or the puffiness of the palm not appealing in hand posing.
Right: are not as appealing as the lines and curves of the edge or side of Placing too much weight on the hand dis- the hand. A classic hand pose for the woman brings together the thumb and middle finger, extends the index finger, while relaxing the other fingers and is a good choice when holding a flower.
Right: This classic pose is a good choice when holding a flower. Center and Right: By bending the wrist down, you can make the hand look much more appealing. Do not allow the hand to become a tight fist that will make the knuckles protrude further and unnecessarily add tension to the portrait.
Tell the male subject to imagine holding a golf pencil a pencil about three inch- es long inside his hand. Also, it is acceptable to have the man hold something for the portrait glasses, a newspaper, etc.
Avoid placing the entire hand into a pocket, especially a tight pocket. The finger bones will show through the fabric in an unde- sirable skeleton-like fashion. Either place the thumb in the pocket, leaving the other fingers out and relaxed, or vice versa.
They transmit the thoughts behind expressions. Remember our first goal of posing, to complement. We wish to make our subject look her best. Particularly when working out- Top: Avoid showing too much of the doors, you must pay close attention to the direction of your pri- white of the eyes. Bottom: Also avoid low mary light source and pose your subject accordingly. Enhancing the elements of the eyes improves the appearance of the eyes as a whole. The iris color of the eye and the white of the eye are the most attractive.
Since the pupil expands and contracts to adjust to the lighting conditions, control of the light intensity is essential. So, use relatively bright light sources modeling lamps, reflectors, etc. This glow radiates color and life in the eyes.
The eyes will become very glamorous and seductive. This type of pose is typical- ly considered feminine, and tends to be used only when photo- graphing women and children. Avoid showing too much white and low camera angles, which may make the eyes look uneven and distorted.
Classic posing rules require the eyes to follow the direction of the nose. Contemporary posing styles break this rule often. When the eyes follow the nose, the portrait is graceful and pleasing. Eye shape and size will determine what will look best. Although contemporary posing styles often break this guideline, classic posing rules require the eyes to follow the direction of the nose.
Since we are built symmetrically from a centerline, we have a number of pairs of body parts that are basi- cally equal. A simple connecting the dots type exer- cise is possibly the easiest way to learn the difference between static and dynamic posing and quickly improve your portraiture.
Do this from your camera view- point as well as from above the subject. Finally, determine whether these lines are flat, horizontal lines or if they are diagonals.
Again, good composi- tional guidelines tell us that diagonal lines are dynamic and horizontal lines are not. If the two furniture. Visualize lines connecting pairs of body parts. If the two lines converge head is tipped up to the higher shoulder the pose is feminine. Now, experiment with the pose by identifying static lines and adjusting the pose to make them diagonal. Watch how the mood of the pose changes.
Watch how the muscles become more defined and the slim- ming effect on the body. So, John is the exception. The exercise becomes more com- plex as you have the subject sit or lay, but the theory still works. When sit- ting or laying, twisting the hips or shoulders to make diagonal lines can create outstanding poses out of acceptable poses.
If the head is tipped down to the lower shoul- der top the pose is considered masculine. If the head is tipped up to the higher shoulder bottom the pose is feminine. The sign is a plane that can be tilted side to side, forward and back, rotated side to side, and a twisting combination of the previous movements.
Your lighting and posing tech- niques must vary accordingly. Turning the facial plane perpendicular to the camera plane results in a profile left.
Avoid split profiles, where the nose breaks the cheekline and the eye and brow are severed right. Turning the facial plane perpendicular to the camera plane results in a profile. Profile portraits are best reserved for subjects with even proportional facial features.
Avoid split profiles, where the nose breaks the cheekline and the eye and brow are severed. The three basic facial shapes are egg shaped, round, and nar- row. The angle of the primary light source in relation to the angle of the facial plane is most important with round and narrow faced subjects.
Assuming the subject is facing the camera, a light source origi- nating from the side of a round faced subject and camera will illu- minate a portion of the facial plane, while casting shadow upon the remainder, creating the illusion of a smaller face.
In between the round and narrow is the average egg shaped facial shape. Turning the facial plane away from the camera slightly and changing the relationship between the As with the face, placing the body plane facial plane and the angle of the light source will add depth to the at an angle produces a more flattering contours of the face and make it more prominent and interesting.
You may find it helpful in visu- alizing the body plane to think of you subject as wearing a sandwich board. Good posture is the most impor- tant issue in regards to the body plane. A straight spine is essential for this plane to be used effectively. Even when the subject is leaning, the spine should be extended to avoid a slouch. For various reasons, some people may not be able to achieve perfect posture and care should be exercised to avoid unnecessary injury and discomfort due to posing.
Turning the body plane away from the primary light source will help to maximize body definition and detail in clothing. The same theory can be applied when positioning a pet to maximize the detail of its soft fur. Some issues deserve more detailed discussion. WEIGHT Creating illusions through controlled camera perspective, relative to the pose of your sub- ject, is the key to controlling the appearance of weight in portraiture.
When viewing an area as a whole, we mentally estimate the area as larger than if it is divided into two or more parts. Accurate management of light traps also serves as a useful illusion. Arms left close to the body can create the illusion of added weight. This can be good if the subject is Using a perpendicular dividing element abnormally thin. But usually it is best to reposition the arms to pro- helps to create a slimmer appearance, vide a visual separation between them and the body.
But if the traps become too large or are in too much contrast to the subjects, they will become distracting and possibly improperly divide the group. Right: It is usually best to provide a visual separation between the arms and the body. This image could have been improved further by relaxing the shoulders. Often, it is necessary to exaggerate poses aimed to fight gravi- ty and limit gravity points.
Added stretches, twists and turns can make a great difference. For the not so positive, you need to be particularly analytical and have a systemat- ic plan of attack. Posing alone is usually not enough to completely eliminate the view of an unwanted element. A perfect pose can be ineffective if improperly illuminated. As a general rule, do not light a problem area to draw attention to it, but to hide it.
Photograph into a lazy eye in order to make it appear larger. Avoid lighting the lazy eye from severe angles, which will create strong shadows across the eyeball, making the problem worse. The Blinker. Most serious blinkers are very conscious of their condition, which adds to the challenge. Make an extra effort to relax the subject. Timing is important. Locking up the mirror prior to exposure can help. Squinted eyes as below often accom- The Squinter.
Often, squinted eyes accompany a healthy smile. One goes up, the other goes up. Telling the subject evoking a smile can help. Using softer, happy expressions can prove to be beneficial. Bald Heads.
Avoid high camera angles and hairlights when try- ing to minimize the appearance of a bald head. Protruding Bones. Usually, the subject can remove or lessen them by moving slightly or physically relaxing the area.
Big and Small. Very few of us are perfectly proportioned. Some have large heads, big feet, and vice versa.
Again, camera angle is the best way to equalize unusually large or small features. Move the camera angle closer to a small feature and away from a large feature. After spending time with your client on the phone, in a personal consultation, while setting your backgrounds and lights, the basic posing, etc. Your goal should be to gradually build up the energy level of the session to peak exactly when you make the exposure.
Accurate timing is the difference between a good photograph and a great portrait. You can manufacture an expression, but the eyes and mouth will tell whether or not it is genuine. Your clients will relate to and connect with images that they see as being natural.
Selling a portrait with a fake smile is difficult. Selling a portrait with a truth- ful expression is easy. MOOD Historically, mood has been somewhat determined by trends. In the early, clamped-neck years, photographers were limited by long exposures. Stoic and even ill tempered expressions were common since they were easier to hold for the term of the exposure than an impulsive smile. Time passed and cameras became more portable and candid imagery became possi- ble, and smiles were captured on film!
The smile then became a requirement by the mothers of school children for years. Today, encouraged by children seeking individuality and the artistic resur- gence of black and white photography, moody and somber expres- sions are making a comeback.
The mouth is a strong competitor for the eyes for the most expressive facial feature. If you are attempting to obtain a certain expression, experiment with different vocal pronunciations, usually with vowels. Knowing what mood to portray in a portrait can be difficult. It is always a safe bet to provide a variety of expressions. How other people perceive us, and how we perceive ourselves, is often differ- ent.
High school seniors and their parents are constantly in conflict over expressions, particularly senior boys and their mothers.
The The mothers want their little boys to smile. The boys mothers want their little boys to smile. Do both and sell them both. Rely also on your study of the subject leading up to the ses- sion. But keep in mind that he may not be feeling well or be hav- ing a disagreement with his parent s , friend, etc. You must be aware of this possibility when working with children. It may be best to reschedule the session rather than pressure and alienate the ill child.
For the most part, poses appear either assertive or passive, either dynamic or simple, and either exciting or shy. Traditionally, the mood you selected was often based on gender—men were assertive, women were passive. Current trends in certain types of portraiture are leaning away from this gender bias toward more neutral mood posing. Soft, graceful poses for a woman, bride, or child are good appli- cations for passive posing techniques.
When posing a couple, pos- ing a woman in a passive pose with a man in an assertive pose can make for a terrific portrait with lots of emotion. Having the subject shift her weight to her back foot while standing forces her to lean away from the camera, and will give a passive air to the pose. Also, you may be in danger of positioning the subject in a way that makes her appear flat and heavy. Assertive posing is the opposite of passive posing, and is gener- ally more popular because it is more three-dimensional and expres- sive.
This is me. Being that assertive poses are based on a forward lean toward the camera, they are more flattering as muscles are stretched and flexed as opposed to being compacted in a passive pose. Providing a posing tool, such as a table or fence rail, for the subject helps to facilitate a comfortable forward lean.
In a portrait style, posing is interdependent with artistic expression and technical abilities. Together, the three are at their peak when a portrait captures the feelings and emotions of the individual sub- ject s , transmits them directly to the viewer and evokes new feel- ings and emotions. An image that makes you smile, makes you think, or makes you want to cry has style. Posing contributes to your portrait style by arranging the subject to properly interconnect with another subject or her environment.
A successful pose is prac- tical and complements the image scene. When collecting posing tools, consider size, shape, comfort, versatility, and safety. By far, the most important criterion for posing tools is height. The greater number of posing levels that your posing tools can cre- ate, the more efficient you will be while setting up poses and the more attractive your portraits will be, particularly for groups.
Look for adjustable stools of different heights, sets of nesting boxes, benches, steps, etc. As a gen- eral rule for typical sitting head and shoulder poses, the stool, chair, etc. This is the most comfortable position for the body and will encourage good posture. Using varied height posing tools will also allow you to use a wider variety of poses. Adjustable stools are a useful posing tool. If, for example, the tool is a chair that is relatively wide, it will usu- ally make it difficult for the members of the group to get close to each other.
Thus, large light traps may be formed which separate the individuals in the group and destroy the feeling of unity. Using a variety of shapes of posing tools will also help add diversity to your posing. A combination of straight-edged and curve-shaped posing tools will encourage using different types of poses. Curve-shaped posing tools are somewhat unique in portraits i.
For example, avoid a chair that is too hard, because it will become painful for the subject to sit upon. She will start to get uneasy and start to A single posing tool may provide a number of posing reposition herself to be more com- fortable. Avoid a chair that is too soft, levels and be photographed in many ways and look because the subject will sink in and it very different. So, choose the tool that is just right.
Keep in mind that a single posing tool may provide a number of posing levels and be photographed in many ways and look very different.
A low back chair with low armrests presents three and possibly four locations for subjects to sit, not just one. A parlor type chair can be sat upon normally, but may also be straddled or used when standing to lean upon with a hand or even a foot. In most situations, only a portion of the posing tool will be visible. So, visualize how different portions may be used in different ways: sit- ting, standing, leaning, arranged for depth, etc.
Elaborate, detailed sets, such as those available from Off the Wall Productions, Inc. These sets are helpful to maintain por- trait session flow, since you can move them quickly and easily and create a diverse collection of images for the subject.
Common sense should prevail when considering the safety of a posing tool. Height and sturdiness are the two main safety topics. If you place a child or a pet upon a table, or subject s on a ladder, be absolutely sure that he cannot fall off and be injured. A weak chair or stool should be repaired or replaced.
Following are a few of the popular posing tools: The Three-Foot Stepladder. Although not the most elegant, and definitely not the most expensive, the 3' high stepladder may be the most versatile and easiest to use posing tool available.
You can use it for a number of standing, sitting, and leaning poses, because it has three built-in posing levels. Best of all, you can use it for other pur- poses. Carpet Pads. Another nonglamorous, cheap, but popular pos- ing tool is the carpet pad. You can place it exactly where you want the subject to sit, and she rarely will move.
If she does, she will automat- ically return to her spot. Hard Foam Pieces or Small Boxes. Pieces of hard foam or small boxes that are 12"—18" square and in various heights between 1" and 6" high work very well for making slight adjustments in the heights of individuals in a group.
They are particularly useful when the members of the group are of similar height. Cutting a hole in the center of the foam or boxes allows for a rope to be run through them and be stacked easily for carrying and storage.
Posing Tables. There are two basic styles of posing tables: the small adjustable height table and the larger fixed table. The small adjustable table is helpful for posing head and shoulders and head and arms type poses. The lean is beneficial to the pose by stretching muscles and is more dynamic. Also, it helps relax the subject by providing him a comfort zone between you and him.
Avoid setting the table too high which will force the sub- ject to lean back away from the camera or setting the table too low which will force the subject to hunch over. Similar leaning poses can also be created with other tools, such as wooden split-rail fences, Dutch doors, and large wheels.
The larger fixed table has been used for children, pet, and glamour portraiture.
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