Foundations Of Posing

Photographers must have a clear understanding of how the human body, from head to toe, should be posed and adjusted in order to look good—and natural—to the camera. Learning effective strategies to flatter the face, arms and legs, torso, and hands and feet will allow us not only to flatter our subjects but also effectively tell the subject’s story. Regardless of your photographic style, the tips and techniques outlined in this book will allow you to better control what the camera sees and the mood or message you want to convey. Whether you are a portrait or lifestyle photographer, photojournalist, fashion or commercial photographer, this book is designed to help you learn skills that you can apply to your specific style and method of shooting. Stephenson maintains that you should first identify the intent of your portrait before you begin to analyze the way in which you will pose your subject or subjects. How will the client use the image? Does he or she need a business portrait, which will require an air of authority and confidence, with a traditional vibe? Is the couple who booked the session deeply in love, and would a pose that speaks to their emotional closeness be appropriate? The author then moves into a discussion on body language. The way that an individual holds himself says much about his mind-set, mood, and motivations. Image viewers subconsciously read the cues that the subject’s body conveys. It is important to ensure that the body language that is summoned through posing suits the mood/theme /intent of the portrait. There are traditions of posing that have been in play in the visual arts for eons. Many photographers fall into using the same pose for every subject. When this happens, all of the images that leave the studio begin to look the same. This can have dire consequences when it comes to the public perception of the photographer’s work—and can squelch the joy photographers feel when creating. Stephenson offers simple approaches to flattering every body part when photographing individual clients and also teaches readers how to create artful images of couples and groups, as in multi-subject portraits, each individual must look great and relate logically and aesthetically to other subjects in the frame. With tips for posing the young and old, males and females, singles, couples, and groups in both indoor and locations—and in reclining, seated, and standing poses, from full-length to close-up, this book will walk you through all aspects of posing and balance with examples and easy to follow instructions. It’s time to stop guessing and learn the art and science of posing.

This book is a study in the logic of questions (sometimes called erotetic logic). The central topics in erotetic logic have been the structure of questions and the question-answer relationship. This book doesn't neglect these problems, but much of it is focussed on other issues. The main subject is the logical analysis of certain relations between questions and the contexts of their appearance. And our aim is to elaborate the conceptual apparatus of the inferential approach to the logic of questions. Questions are asked for many reasons and for different purposes. Yet, before a question is asked or posed, a questioner must arrive at it. In many cases arriving at a question resembles coming to a conclusion: there are some premises involved and some inferential thought processes take place. If we agree that a conclusion need not be "conclusive", we may say that sometimes questions can play the role of conclusions. But questions can also perform the role of premises: we often pass from some "initial" question to another question. In other words, there are inferential thought processes - we shall call them erotetic inferences - in which questions play the roles of conclusions or conclusions and premises. The inferential approach to the logic of questions focusses its attention on the analysis of erotetic inferences. This book consists of eight chapters.

Often overshadowed by complicated lighting techniques or advanced postproduction tips, this resource seeks to remind the professional photographer of the fundamental importance of a subject's pose. Conveniently designed in two-page spreads—a striking portrait on one side, a comprehensive how-to of the strategies used on the other—this reference includes countless techniques for studio sessions as well as outdoor and location shoots, with individuals or groups, male or female clients, and in sitting, standing, or lying poses. With advice from a well-known and respected professional, it covers all the basics, showing how to emphasize a client's assets and downplay perceived flaws, how to create a cohesive, engaging group photo, how to use natural elements on location to enhance an image, and how to ensure that the result flatters the subject and adds the essential professional polish to an image.

In the early years of photographic portraiture, posing was an absolute necessity. With extremely slow films, equally slow lenses and a lack of artificial light sources, time dictated long exposures. Due to vastly improved technology, photographers are now able to work freely and naturally, recording spontaneity in their portraits, yet not forgetting the posing rules that existed. As Bill Hurter shows in The Portrait Photographer's Guide To Posing, there is room in the market for both approaches.

Photographer, author, and educator Roberto Valenzuela has a proven track record for teaching and explaining difficult concepts to photographers of all skill levels. His remarkable ability to break down complicated ideas into understandable, approachable elements that photographers can truly grasp–and then use their newfound knowledge to improve their photography–made his first book, Picture Perfect Practice, a breakout success. In Picture Perfect Posing, Roberto takes on the art of posing. For many photographers, after learning to compose an image and even light it properly, a portrait can still easily be a failure if the pose is not natural, elegant, and serving the needs of both the subject and the photographer. Instead of just showing page after page of poses–like most posing books on the market–Roberto actually breaks down the concept of posing by examining the anatomy, starting with the core foundation: the spinal chord and neck. Building from there, Roberto discusses every component of what makes poses work, as well as fail. How should the model hold her hands? Bend her elbows? Position her fingers? Should the model look toward or away from the camera, and why? It all depends on what the photographer wants for the shot, and Roberto discusses the entire process, from the intent of the photographer through the execution of the pose. For those who have been discouraged by an inability to pose their subjects, or who have simply not known where to start in order to "figure it out," Picture Perfect Posing is the essential resource they need to learn how posing truly works, and how they can learn to direct the exact pose they need for the shot they want.

Aiming to help portrait photographers yield pleasing results with a variety of body types, this tutorial evaluates the subject’s appearance and suggests refining poses, providing tips to make sure each subject ends up with a result they like. Using before-and-after photos—and working through every region of the body from the head to the feet—acclaimed professional instructor Jeff Smith demonstrates simple posing adjustments and explains how various poses can conceal problem areas and maximize positive assets. Also covered are common mistakes that photographers make when posing their subjects and how to best match that pose with the setting, coordinating an overall feeling and style that makes every client look outstanding.

Photographers are guided through every aspect of posing—beginning with the consultation and continuing with specific tips for posing children, high school seniors, wedding parties, families, events, teams, groups, and pets—in this comprehensive manual. Maintaining that good posing is 80 percent mental and only 20 percent technical, this guide stresses the importance of communication between photographer and subject to creating a portrait that not only captures the subject’s personality but also makes the subject comfortable, fostering repeat business.

When photographing people, you can have a great composition, perfect light, and the right camera settings, but if your subject doesn’t look right—if the pose is off—the shot will not be a keeper. Posing is truly a crucial skill that photographers need to have in order to create great photographs. If you’re looking to improve your ability to pose your subjects—whether they’re men, women, couples, or groups—best-selling author and photographer Lindsay Adler’s The Photographer’s Guide to Posing: Techniques to Flatter Everyone is the perfect resource for you. In the first half of The Photographer’s Guide to Posing, Lindsay discusses how the camera sees, and thus how camera angle, lens choice, and perspective all affect the appearance of your subject. Lindsay then covers things that ruin a pose—such as placement of the hands, and your subject’s expression and posture. Next, Lindsay dives into “posing essentials,” outlining her approach to start with a “base pose,” then build on that to create endless posing opportunities. She also discusses posing the face—with specific sections dedicated to the chin, jaw, eyes, and forehead—as well as posing hands. In the second half of the book, Lindsay dedicates entire chapters to posing specific subject matter: women, men, couples, curvy women, families and small groups, and large groups. In each chapter, Lindsay addresses that subject matter’s specific challenges, provides “go-to poses” you can always use, and covers how to train the eye to determine the best pose for your subject(s). Lindsay also teaches you how to analyze a pose so that you can create endless posing opportunities and continuously improve your work.