Guide Doug Boxs Guide to Posing for Portrait Photographers

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Doug Box's Guide to Posing for Portrait Photographers by Douglas Allen Box (2009, Paperback)

For ease of use, the portraits are grouped according to how much of the subject is shown in the frame. Thus, the book begins with head-and-shoulders portraits. Next are. The one exception is the shot I create when the bride arrives at the church. To prepare for this, I advise the bride to remain.

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Treat them gently and style. When possible, care should be taken to photograph the side. That moment is as far as you can get from the stale smiles and deer-in-the-headlights looks you often find in formal photographs.

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In a moment of purity, you are able to catch the. Cleavage is nothing but a shadow. They may not seem like much, but the details can make or break your image. Treat it with care. Be sure the bride holds the bouquet gracefully and naturally. Not all of our wedding clients are models; they usually need a little direction. To hear our creative voice, we have to silence the technical chatter as much as possible. This comes with experience. Some people have a difficult time learning to. After all, if you are looking for elegance in your images, why would you want poses that just make your subjects look stiff?

But if I only shot what I knew I could get, it would be boring. We all make mistakes, but hopefully they are outweighed by our successes. We are mindful not to get her dress dirty and usually ask the maid. We also carry a sheet to lay down under the dress. Your confidence will assure them that they are in good hands and encourage them to put their trust in you.

PLATE We need to develop a relationship where they are totally. They will devote extra resources to make their wedding special. When you see. Make it a continuation of a creative process. The clients will be happy that their efforts were documented, and your album will look great. It is important our styles and personalities mesh. This makes it much easier to sell. Clients see a. When posing your subject, you must pay attention to the feet—whether or not you plan to include them within the photographic frame.

I have the person stand with their weight. This lowers the back shoulder and shifts the line of the hips, giving some flow to the body and creating a more dynamic, appealing line. Make yourself responsible for adapting a good idea to fit your needs. The happy. Photography after the ceremony is a task.

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Between the ceremony and the reception, people are always looking at their watches. When do we need to get out of the church? If I can avoid that, their whole experience with me will be really free and fun.

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While these rules are often intentionally broken by contemporary photographers, most are cornerstones for presenting the human form in a flattering way. If the hands are lifted to a position near the face, these may also be included. In portraits of women, these images are often cropped just below the bustline or at the waist.

Waist-up portraits are sometimes considered a type of headshot. Three-quarterlength portraits show the subject from the head down to the mid-thigh or midcalf. In some cases, one foot may be visible. Full-length portraits that show the subject from the head down to the feet or at least the ankles. In some cases, only one foot may be visible. When including less than the full body in the frame, it is recommended that you avoid cropping at a joint such as the knee or elbow ; this creates an amputated look.

Instead, crop between joints. Facial Views The most flattering facial view depends on the bride, the lighting, and the mood you are attempting to create. This is the widest view of the face, so it may not be well suited to brides with rounder faces. This is a flattering, slimming view for most faces.

In this pose, keep in mind that the far eye will appear smaller than the near eye because it is farther away from the camera.

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Also, be sure not to turn the head so far that the tip of the nose extends past the line of the cheek or that the bridge of the nose obscures the far eye. Having the shoulders face the camera directly makes her look wider than she really is and can yield a static composition. With a slim bride, however, squaring the shoulders to the camera can give the image an assertive mood that is quite appealing. The Head Tilting the Head. Tilting the head slightly produces diagonal lines that can help a pose feel more dynamic. In portraits of women, the head is traditionally tilted toward the near or high shoulder, but this rule is often broken.

Chin Height. A medium chin height is desirable.

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If the chin is too high, the bride may look conceited and her neck may appear elongated. If her chin is too low, she may look timid and appear to have a double chin or no neck. In almost all portraits, the eyes are the most important part of the face. Typically, eyes look best when the eyelids border the iris. This creates a space that slims the appearance of her upper body. Hands Keep the hands at an angle to the lens to avoid distorting their size and shape.

Photographing the outer edge of the hand produces a more appealing look than showing the back of the hand or the palm, which may look unnaturally large especially when close to the face. Additionally, it is usually advised that the hands should be at different heights in the image.

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This creates a diagonal line that makes the pose more dynamic. Bending the wrists slightly by lifting the hand not allowing it to flop down creates an appealing curve that is particularly flattering in bridal portraits. Fingers look best when separated slightly. This gives them form and definition. Hands are often easiest to pose when they have something to do— either a prop to hold or something to rest upon. When photographing the bride holding her bouquet, have her grasp it gently, or opt to hid her hands behind the bouquet.

Chest Selecting a pose that places the torso at an angle to the camera emphasizes the shape of the chest and, depending on the lighting, enhances the form-revealing shadows on the cleavage. Turning the shoulders square to the camera tends to flatten and de-emphasize this area. Good posture, with the chest lifted and shoulders dropped, is also critical to a flattering rendition.

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Waist and Stomach Separating the arms from the torso helps to slim the waist. In seated poses, a very upright posture almost to the point of arching the back will help to flatten the stomach area, as will selecting a standing pose rather than a seated one. Legs Although most brides wear full-length gowns, posing the legs properly remains desirable because it impacts the posture of the entire body. Asking the bride to put her weight on her back foot shifts the body slightly away from the camera for a more flattering appearance than having the weight distributed evenly on both feet.

Having her slightly bend her front knee will also help to create a nice line on the lower part of the gown. Hips and Thighs In some gowns, this area will naturally be concealed. If the bride has opted for a gown that is fitted through the hips and thighs, pose her hips at an angle to the camera and away from the main light. In a seated pose, have the bride shift her weight onto one hip so that more of her rear is turned away from the camera. Feet Brides are often very proud of their shoes, but pictures of feet with the toes pointed straight at the camera tend to look distorted.

A good rule of thumb is to ensure that at least one foot is turned enough that the heel is shown. He has been honored with over one hundred Australian and international awards for his photography, including being named Australian Wedding Photographer of the Year in Additionally, he has written for and been profiled in numerous photography magazines and lectured to photographers around the world.

Doug Box www. Besides being an excellent photographer, Doug Box is a dynamic and entertaining speaker who has appeared in a wide variety of seminars around the world.

Mark Chen www. In addition to his studio operations, Chen teaches Photoshop at Houston Baptist University and Houston Community College and is touring the nation giving Photoshop training sessions. Dave and Quin Cheung www. Their strong story-telling ability, coupled with their highfashion eyes, has earned them the love and respect of their clients and won them multiple international image and album awards. Dave and Quin are also highly respected educators of the wedding industry and have taught photographers from As cocreators of the QuiKeys workflow system, Dave and Quin continue to innovate workflow solutions from shoot to album design.