The focus is usually on the eyes the top of the triangle and main focus and the body creates the bottom part of the triangle. If you ask your subjects to simply move their shoulders, they could go in any direction. Rolling the shoulders also helps because it's the angles of the shoulders and arms as well as the angle of the head that create that interesting composition. I dislike seeing clutching or claw-like hands; I try to have models relax their hands on set and be aware of how their digits look.
I usually like the pointer finger more pointed and the rest of the digits relaxed, like ballet hands. Usually movement helps bring life to a static pose. Hair blowing is always helpful for an interesting shot. If the composition or outfit is very symmetrical, I usually throw off the symmetry by having the model tilt her head or move one arm to a hip. This makes for a much more interesting composition. Fashion photographer Lara Jade launched her own business at the age of Her work is featured in many magazines and campaigns, and she is often found online and on stage sharing her insight and tips with other photographers.
There is a right way, but you the photographer must take the wheel. Do your research beforehand and plan accordingly.
Pull inspirational poses photos and have your model emulate those poses. Also, I always want to see color, contrast and catch lights in the eyes, if the model simply follows their nose the color and catch lights will be there. Shoulders are often overlooked, but they play a crucial role in framing the face of a model. Popping a shoulder up and forward can make all the difference, especially in beauty work.
Just raising one shoulder higher than another will add dimension and strength to the image. Therefore, when a model pushes her chin forward and then down and is faced directly towards the camera, from the photographers perspective the jawline is extended and stronger lines have been formed. However, if the model were to move to their side profile, he or she would resemble a turtle poking its head out of the shell. It will feel incredibly awkward for the model, so be aware of the models torso and stance before asking to bring her chin out and down.
It can set a completely different mood and photograph.
With the mouth closed, the jawline clenches and adds extra weight to the sides of their face. With the mouth slightly open, the jawline is elongated and gives a subtle intimate invite to the viewer. In fashion photography, shoes are a crucial piece to the wardrobe. But, they are often overlooked because legs and feet are never easy to pose. So, many photographers avoid the full body shot and go right for an easy three-quarter image. But, when you have to capture the full body and the shoes, implement motion.
Get the model moving; jump, walk, lunge and shake the heavy feet. An easy starting point is walking forward or pacing back and forth in a continuous manner. I grabbed this term from one of my favorite photographers and educators Sue Bryce. She has a way with posing women that is unmatched; her images are ethereal and real.
Hands are one of the more challenging aspects of posing and can make or break an image if shown incorrectly. The model should relax their hands as if they were in a ballet, spreading the fingers lightly, slightly broken at the joints. From there, depending on the aesthetic of the shoot, hands should be placed in a position that works with the image.
Under the chin, over the shoulder, to the side or through the hair are some common positions for hands. A common mistake made by many portraiture photographers is completely ignoring their own height and shooting a model from above or eye-level. When shooting three-quarter or full body, get low to the ground and shoot high. And, positive reinforcement is everything. Chimping, a term used in digital photography to describe the habit of checking every photo on the camera display LCD immediately after capture. Chimping is deadly habit that can kill the energy of a shoot and I've seen it first hand countless times.
Photographer takes a shot, looks at the back of the camera, takes another shot, looks at the back of the camera. All this time the model is getting bored and losing energy, he or she is also questioning their confidence and wondering what the photographer is seeing. If you have to check the LCD, talk to the model at the same time and give out positive reinforcement.
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If you ask your subjects to simply move their shoulders, they could go in any direction. By selecting the right location, time of day and camera settings not to mention the right lens for the shoot, you can turn your lack of lighting equipment into a serious advantage that produces unique, interesting images. She has a way with posing women that is unmatched; her images are ethereal and real. George Gottlieb - April 3, Really helpful post! Upper body should be slightly lifted and the model looking back over her shoulder.