Posing Like A Pro: Create Your Best Portraits Ever! Part 1 | Sandy Dee | Skillshare

Posing Like A Pro: Create Your Best Portraits Ever! Part 1

Sandy Dee, Sandyseyecatcher

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79 Lessons (4h 41m)
    • 1. Trailer

      5:38
    • 2. Introduction

      1:42
    • 3. Quick Tips About This Tutorial

      5:39
    • 4. Why This Tutorial Will Set You Onto The Fast Track

      3:27
    • 5. The Idea Behind Posing

      2:28
    • 6. Animation Of The Body

      5:18
    • 7. For Whom Do You Shoot

      3:29
    • 8. Assignment 1

      0:37
    • 9. Scanning Of Your Location

      3:44
    • 10. Evaluating Your Model

      8:53
    • 11. Scanning vs Vision

      1:26
    • 12. Shooting Concepts

      6:03
    • 13. Lens Choices

      7:04
    • 14. Assignment 2

      0:53
    • 15. Standing Poses - Body

      1:06
    • 16. Standing Poses - Feet

      1:54
    • 17. Standing Poses - Legs

      1:59
    • 18. Standing Poses - Back, Core & Shoulders

      3:01
    • 19. Standing Poses - Neck, Chin & Head

      4:08
    • 20. Standing Poses - Collarbone, Chin & Eyes Connection

      5:32
    • 21. Standing Poses - Arms

      5:44
    • 22. Standing Poses - Hands

      8:13
    • 23. Standing Poses - Props

      3:07
    • 24. Standing Poses - Facial Expressions

      7:51
    • 25. Standing Poses - To Smile Or Not To Smile

      2:37
    • 26. Standing Poses - Eyes

      5:26
    • 27. Lighting & The Importance Of The Pupils

      5:09
    • 28. Flattering Effects & Catchlights For Eyes

      5:20
    • 29. Standing Poses - The Nose

      3:15
    • 30. Standing Poses - Mouth and Lips

      2:19
    • 31. Standing Poses - Ears

      2:46
    • 32. Standing Poses - Hair

      4:35
    • 33. The Chocolate Side

      5:01
    • 34. The Chocolate Side And Hair Accessories

      2:39
    • 35. Assignment 3

      0:40
    • 36. Sitting Poses - On A Chair

      4:46
    • 37. Sitting Poses - The Floor

      4:13
    • 38. Lying Down

      3:33
    • 39. The Hush Puppy Effect

      1:46
    • 40. Assignment 4

      0:27
    • 41. How To Pose Men

      3:08
    • 42. Men's Hands

      1:41
    • 43. How To Position The Head

      1:42
    • 44. Dealing With Baldness

      2:13
    • 45. Sitting On Or Against A Wall

      2:50
    • 46. Assignment 5

      0:28
    • 47. Couples - Intro

      5:07
    • 48. Positioning The Bodies

      6:00
    • 49. Common Couple Problems

      8:55
    • 50. To Fix or Destroy

      2:52
    • 51. Assignment 7

      0:43
    • 52. Dealing With Weight - Tips & Tricks

      3:38
    • 53. Slimming the Body

      2:55
    • 54. Shooting Angle & Slimming Tricks

      3:27
    • 55. Assignment 7

      0:33
    • 56. Lighting, Contrast & Color

      8:59
    • 57. Lighting Diagrams

      1:41
    • 58. Assignment 8

      0:53
    • 59. Body Language

      1:59
    • 60. The Devil Is In The Details

      5:58
    • 61. Assignment 9

      0:39
    • 62. When Your Mind Goes Blank

      9:19
    • 63. Photographical Styles

      6:31
    • 64. Glamour Photography

      6:03
    • 65. Fine Art Nude Photography

      4:11
    • 66. Assignment 10

      1:21
    • 67. Answers (Intro)

      0:22
    • 68. Answers To Assignment 1

      0:56
    • 69. Answers To Assignment 2

      1:29
    • 70. Answers To Assignment 3

      3:10
    • 71. Answers To Assignment 4

      3:32
    • 72. Answers To Assignment 5

      2:47
    • 73. Answers To Assignment 6

      4:09
    • 74. Answers To Assignment 7

      3:15
    • 75. Answers To Assignment 8

      2:29
    • 76. Answers To Assignment 9

      1:41
    • 77. Answers To Assignment 10

      1:02
    • 78. Final Thoughts

      7:57
    • 79. Further Reading

      1:21
35 students are watching this class

About This Class

Welcome to our course “Posing Like A Pro: Create Your Best Portraits Ever Part 1”!

*** This is a Portrait Posing Fundamentals course based on the included 200 page eBook 'Posing Like A Pro' ***

Following this course are 3 'live studio' shoot courses that put all these concepts into practice!

My name is Sandy Dee from Sandys-Eyecatcher! I love teaching as I believe that EVERYBODY can learn the skills of great Portraiture and also How To create the MOST flattering Posing Flow:

Whilst teaching workshops I realized that most of the attending photographers were really savvy about photography techniques and new technology but would freeze when they had to pose the Model or would run out of ideas very quickly.

Nine times out of ten we had the following scenario:

Student talking to the Model: “Do this! Do something completely different! OK good, let’s go somewhere else”. 
Me to the Student: “Why don’t you finetune the pose or develop it further?” 
Student: “Well, I don’t know how….I don’t know anything about posing!”

So, that’s when I realized 2 things:

First: It was time to write my own book about posing to really break things down as much as possible!

And Second: Why not also turn this book into a tutorial so I could demonstrate all those poses and scenarios?

Because THIS way my photography students could take the book with them to their shoots (for some guidance and reference) AND also watch me demonstrating all those poses (plus seeing overlaid images to understand even better why some poses work and some don’t)!

So, let me tell you a few things about “Posing Like A Pro”:

In this course you will learn ALL the THEORY about posing STEP-BY-STEP. You will learn to design poses that flatter your Model and your Client. You will understand the importance of animating the Model’s body and why it’s critical to the Success of Storytelling. Being a great Portrait Photographer means being able to create memorable images continuously AND on the spot. And this is exactly the No. 1 WORRY for many new (and even intermediate) photographers: How can you guarantee your Model or Clients these amazing images, that make them look like a million dollars - time after time after time? (And without that you need to freak out!) 

This is why you will learn the following:

  • How to Evaluate Your Location / Your Subject / Your Lenses
  • How to Create Great Shooting Concepts
  • How to Pose the Body to Look Effortlessly Slim
  • How to Pose Your Model’s Hands in Flattering Ways
  • How to Use Props to Enhance Your Story
  • Learn the Difference Between Male and Female Posing
  • How to Pose People with Weight Issues
  • Learn about the Importance of the Right Light
  • What to Do When Your Mind Goes Blank
  • Why Different Photographic Styles Demand Different Posing

And So Much More!

At the end of “Posing Like A Pro” you will be able to flow through the poses, without your client looking stiff or unnatural and without your mind ever going blank. You will know all the tricks to accentuate your subject’s best features whilst integrating location, lighting and communication.

Also - Our little assignments will help you to practice your photography skills actively to really deepen your understanding of pro and cons of certain poses.

Intrigued? Ready to Create Your Best Portraits Ever?

See you soon!

Sandy

Transcripts

1. Trailer: - hi , guys, and welcome to our course, posing like a probe. Create your best portrayed ever. My name is Andy and you're watching. Send his eye catcher TV. Originally from Germany, I studied photography in London. Why wasn't water that the PLO mothers merit in 2011? Then we moved to the Great City off San Jose, California, where I have lead over 50 photography workshops specializing in conceptual photo shoots. I really love teaching, as I believe that everybody can learn the skills off great portraiture and also how to create the most flattering posing floor. Why it's teaching my workshops. I realized that most off the attending photographers they were really savvy about photography techniques and also new technologies. But they would freeze when they had to pose the model. All would run out off ideas very quickly. So nine times out of 10 we had the following scenario so the student would talk to the modern and would say something like, OK, do this now, do something completely different. Okay, let's just go somewhere else. And then I would say to the student, Why don't you find tunes of suppose or develop it further and then the student would say, Well, I don't know how I don't know anything about posing. So that's when I realized two things. First, it was really time to write my own book about posing to really break things down as much as possible. And this is the book you see and Insect didn't. Why not? Also turning them this book into a tutorial So I can really demonstrate all those poses and scenarios because this way, my photography students could take the book with them, toe the shoots for some guidance and some referring, and I could also watch me demonstrating all those poses, plus seeing over late images to understand even better, where some poses work and some don't. So let me tell you a few things about this tutorial posing like a pro. So in this cause, you will learn isa Syria about posing step by step. You will learn to design poses that flatter your model and your client, and you will understand the importance off animating the model's body and why it's critical to the success off your storytelling because being a great portrait photographer means being able to create memorable images continuously and on the spot, and this is exactly the number one worry for many new and even intermediate photographers. How can you guarantee your model or clients these amazing images that makes them look like a $1,000,000 time after time after time and without you freaking out? So this is why you will learn the following. How to evaluate your location, your subject and your lenses. How to create great shooting concepts, how to pose the body to look effortlessly slim. How to pose your models, hands and flattering ways. How to use props to enhance your story. Learn the difference between male and female posing. How to post people with weight issues like curvy models, long about the importance off the right light. And what can you do when your mind goes playing? I will also explain why different photographic style I It's the men different posing and so much more at the end off supposing like a pro tutorial, you will be able to flow through supposes without your client looking stiff or unnatural and without your mind ever going blank, you will know all the tricks toe Accentuate your subjects. Best features why it's integrating location, lightings and communication Also, our little assignments will help you to practice your photography skills actively. To really deepen your understanding off pros and cons off certain poses and in your cost material, you will find the link to your own posing like a Pro e book, which includes even more secrets. For example, the Seven Ingredients recipe for creating your best portrait ever. Are you intrigued? Then go ahead and watch our previews. Or if you want to learn all our tricks right now, then enroll into posing like a pro and let's get started in creating your own posing flow. See you soon. 2. Introduction: hi and welcome to our course, posing like a pro. My name is Andy D, and you're watching Fendi's I catch a TV, and this is the place to be. If you want to know how you can elevate your posing skills from lame to fame a little bit about us. As you can probably tell by my first sentence. I'm originally from Germany. My husband is from the UK, and now we're here in the great city of San Jose, California In our photo studio, we have lead over 50 photography workshop so far, specialising in creating conceptual photo shoots and knowing how to pose a modern, our client is a big part off a successful shoot. I realized that most off my students were really savvy about photography, techniques and technology, but started to freeze when they had to pose the modern. So that's why I wrote the book posing like a pro and that the world behind me are from this book and that teachers are the concept about posing so my photography students wouldn't fear so lost any longer. And then I realized, why not also record video tutorial version off this book so I can really demonstrate all those poses and in your cost material you will find Also link to download this book as an e book so you can take it with you to your next shoot. So this way you will never be stuck it posing again. 3. Quick Tips About This Tutorial: quick tips about this tutorial. In this tutorial, you will learn the theory off how to pose your clients and models for the most flattering pictures. It's designed as a step a step guides off course. You can skip hearts or watch them in a different order. However, I recommend to keep the general order, as always, electric kind of it up onto each other. There will be a lot of information with pop ups and images. Toe not only inform you, but also to make learning as much fun. That's possible. But if you feel it any time the information or images too fast, then feel free to pause the tutorial until you understood the context and then continue in your own time. We will start with the evaluation off your location, the subject and lends us before we dive into opposing and building Absi body parts into the perfect position. You will also learn about different photographic styles and how everything plays together as it is really important to find right posing for the right client or concept. I will show you poses by demonstrating always over late images, so not only so that you can copy those poses, but so that you really understand why some positions are more interesting or flattering than others. However, at the same time, I want to ease your worries. If using. Oh wow, that's so much information. I will never be able to pose a whole body in the perfect way because it's not really about that at all. Your most important goal is to achieve a great experience for your client because it's always emotions over posing n versus. It's always about your storytelling storytelling as the number one ingredient off any good portrait. Because if there's no story than what's the point of the image? So as long as your clients you pictures with beautiful expressions, then you achieved your number one goal and everything else comes second. I watched Ones, a tutorial by Sue Prize, about how to pose a family, and it was really funny to watch because she took the time to pose the grandmother, mother and the things that were to goods. And she did this. I was most care, obviously also for the purpose off, demonstrating the right poses for her tutorial. However, once she reached the last person off, the group was the perfect body and head position. The first person changed their face and body position again due to waiting so long. So the problem is that the best looking poses are not necessarily the most comfortable. So people start to sing into the chair was they put their face back and so on. So So Bryce had to start from the beginning again to change the first person back into the right position, and it took quite some time before she started taking images. So I'm sure that in the real life situation, she wouldn't be that perfectionistic because off yeah, the end off the day. It's all about the experience and the floor. Otherwise, you will lose all the expressions of people said too long in an uncomfortable position. So don't worry about the perfect polls. It's even hard for super pros to achieve 100% perfect result. And if in doubt, it's always always, always emotions over posing. So, however, if you are interested in knowing why, declined, maybe didn't buy a certain images do two things I didn't like about themselves, Then our tutorial will tell you all about how you can best flatter your clients all right. So if you are interested in placing your images into competitions for WPP, I and so on than those judges are often very strict. And they were judged your images on the perfect word scenario. Meaning wife on real life wedding scenario. Maybe things are probably not under your control, and your client might by many images, even without the perfect body flow. If you submit images for competition, on the other hand, they expect that you work with models or scenarios that were completely under your control , and they will be very critical about things like the wrong stand or hand position, or if the moderates noses catching her cheek and so on. So, yeah, your client might not even know to small problems in their portrait, but photography judge does. And wouldn't it be great if you would know all those tricks to? So if yes, then you are at the right place, and even better and the cost material. You will also find a link to my book posing like a pro, which teaches you even about the as a six ingredients outside, off posing to create your best portrait ever. And if you have any questions. Feel free to join our Facebook group posing like a pro or contact me on Facebook or Instagram at Sonny's Eye catcher. So have fun with this tutorial and creating your best portrayed ever happy shooting. 4. Why This Tutorial Will Set You Onto The Fast Track: So how was I able to write? Avoid book about posing? Well, I have read a lot off books about photography. From Peter Early is the Head shirt to Picture Perfect by Roberto Valenzuela. Books about portrayed about posing, about lighting and props and cameras, Business reason one and order ones. Basically anything I could find by any publisher about the subject. I have also watched tons off two targets by creative life following instructor such a super rise and then the ATLA, and also the photography academy with my Klegon, from pin upto boudoir from glamour to fashion to portray its and weddings, I devoured all the information I could get. Also, living in England and Germany gave me access toe many books and magazines that are only available in those countries. I absorbed so much because I thought that one day it would hit me that one day I would have the epiphany, how to develop opposing floor, how to make paper looks, lemma and better and how to work smart. Not hard, but no on. Nothing happens. I had to find my own way. I mean, don't get me wrong. There is a lot of good advice out there, and if I think it will benefit you every do shout outs and give credit where credit is due and you can investigate those and structures and media platforms further, if you wish so, However, there is also a lot off trash out there. Many experts I listen to were explaining simple things so complicated, and there were describing poses in ways that were more complex and a math formula. Then they would invent a brief abbreviation for it, which complicated things even further and then made sentence and so convoluted that I had to read them three times if I didn't lose interest first. So maybe they just wanted to look extra clever for an easy subject area. Or maybe they had to fill the book somehow. But I was so frustrated and confused, and at that time I promised myself one day, If I have developed the work floor and I'm able to piece it all together, I will write a better book about it, a book that provides the guidance and shortcuts that I was always looking for. So after all these workshops in my studio and making sure that I really understood all of those problems off my students. I finally sat down and they rode opposing guides, and I sincerely hope that you will benefit from this and also from the sto toria. I worked hard so that you don't have to, and I'm sure that you will master are those poses in no time, and along the way I will help you to take your portrayed the next level. I will review the tricks that I have known many, many years as a professional photographer. That's my little assignments will involve. You're actively in the learning process. It's more beneficial than passive watching as you can discover for yourself how your knowledge grows with each lecture. 5. The Idea Behind Posing: the idea off posing isn't a brand new one. I didn't invent it. Neither did any. As a photographer, they might have come up with a quick phrase or maybe a certain body position or great workflow. But that's it's since the invention off the selfie we strike poses a lot back faith or the hamster face all the resting bitch face the faces expressionless but looks angry without meaning to be. Just imagine how Victoria Beckham looks on the recap it, for example. But all of that that's not real. Posing at us long before recognized the importance of animating the face and body in the flattering way. Been portraying a person. Painters in the Middle Ages already had toe pose the person for certain hours to get a really good reside tested at us before that. Who created Skechers saying Greek or Roman statues? And probably it took them a bit of practice, too. So don't worry. Soon you were master the at off, posing like a pro. So this is what the dictionary says about oppose. It's easier to assume a particular attitude off stands, especially with the hope off impressing all of us, or are to present oneself insincerely well, both off that doesn't found to growth of it. I will obviously uses time a large rings that cost offsets Pretoria as it's about posing. But I actually don't really like the word pose. It scares people off most clients and model Hef's impression. That photographer who opposes them make them look stiff and lifeless. They may look Sina and have great light on them, but fear that everything looks fake. So if the photographer I use is one of those old school math Lynn fabrics at the backdrop, it's easy to run into trouble because stiff poles and outdated backgrounds kind of means awkward image, the cheesy images that you receive at the school's graduation on a cruise ship. 6. Animation Of The Body: first of all, instead off pausing thing off, animating the body. This in itself already sounds much better than being a poser. Animations addressed a certain flow to you into the client, although it's just another word for the same thing. It makes a big difference. While I was teaching workshops on portraiture, I noticed that the attending photographers would run out of ideas very quickly on what to do with the modern nine out of 10 times we had this kind of scenario. So the student will talkto the model and say something like OK, do this now will do something completely different Now let's just go somewhere different. And then I say to the student, Why don't you develop this pose or find tunes is a little bit further and then the student would say, Well, I don't know how I don't know anything about posing and a changed when I ask the photographers not to oppose the model. But toe only made instead and it got even better when I asked them. Not only toe animates our body, but only certain parts. At one point, they were only allowed to change the position off the hands and nothing else. And there was a price. How many different poses were possible? It was just one simple movement off the hands. There is a great tutorial on YouTube, recorded by being age audio and ever give you the Lincoln the Cost Materials. It's called posing everyone, and Jerry Jones talks about the same issue. So he says it's best if you can break it down as the telephone number, because then it's easier kind of to understand the whole process because each telephone number has only seven digits. But there are many available phone numbers due to the variety off combinations, and this works. Imola is the body, so the feet could be number one and can be changed in many ways. While it's 23456 and seven stays the same. So too could be legs. For example. Three back for short, US five arms six head and seven could be facial expression, for example. So break it down and think about the animation of all these numbers. I mean, like body parts, obviously not like a puppet on strings of the model should do natural things, such as crossing the legs or hips back hands on hips across arms, lowering the short, tilting the head or giving a smile or being serious. So one see photographers off our workshop on the stood that the animation off the body meant to direct a great variety off body parts. They never got stuck. There are so many things model or client can do with the arms, legs, hair and so on, and in theory, it's difficult to run out of ideas. However, it's up to you as the photographer toe analyze which moves might work for a modern and which might not, and sometimes a fine tuning. It's what makes or breaks in a much just a little change can lead to such a much better image. It's not always necessary to change the world polls or to find a different location. Your communications kids are super important. You shouldn't touch your client. The best communication is done verbally. Demonstrate supposes that your plan can copy or mirror it. If they really don't understand, ask if it's OK to touch them. And if they say yes, explain all the time, what you are doing and why. For example, sometimes clients don't understand how to push the hip spec. In this case, you can ask them to put their hand on the hip and then ask if it's OK if you can touch their hands. If they say yes, you can push gently on their hand and what it's doing. So this push will just move the hips back, which is much more polite and touching somebody else a sip. Remember that, especially in Western couches. People really like the personal space. So reassure them that even if supposed feeds unnaturally that it's not the point and said it doesn't look posed. It oil, but really accentuates the body and curse through your directing skills. You can shape the body off your client to look sin and more attractive. And that's what it's all about, isn't it? While it's explaining your methods and reassuring the won't look posed, your client will relax and you will achieve both of slim looking body and natural lifestyle facial expressions. You want your client to be happy and relaxed. Was there looking like a better, more attractive version off themselves 7. For Whom Do You Shoot: creating variety is key when creating or selling Portrait's, though this might sound ought. But a lot of times asked my photographers, for whom that you take this image and the response while for the model wasa client off course. So if you're shooting without getting paid like a trade meanings, Ahmad, it's time for your images. Then you're shooting really for two people. You want to give pleasing images to the model, but you also want to challenge yourself and try new techniques or just practice in general . So if you're getting paid and let's say somebody booked you for senior session, then in theory you have a lot more people for whom you're shooting for. So Mom and Dad might, by images that a they like typically is a smiling, casual ones. Be the T Nature prefers the cool and moody ones and see Grandma or grandpa hangs on the wall like the former ones. So what does this mean? It means that you need to produce a variety off images so typically, a senior might like images where he or she looks cool or broody face turns away like looking into the distance. And maybe if it's a girl, and she's totally into fashion and might even want to look a little bit more sexy. So how do you organize the shoes so that everybody ends up with images that they like? So this might sound very capitalistic, but the person that pays has the right off way. First of all, you want to make this person happy. So in the example, off the senior most likely the parents are paying and want to have natural portrait, such as eye contact with the camera like simple and really beautiful images. But most likely they just want close ups, maybe 3/4 length of spend money on the wardrobe, and the one smiles, knife smiles and, depending on the age of the kids, that will probably tell the son or daughter to say cheese. So the issue is simply that no matter how old the teenager is for parents, it will be always a cute little child that they want to cherish forever. However, for the senior, there might want something different, then maybe one more serious expressions. They want full body shots if they have a great body, and they also want to show sometimes maybe off new shoes off. If it's a girls and high, here's their style might also change. I mean shooting and editing, and it could be a bit more edgy or more dramatic. Light off. More contrast. Yeah, they can look up or down or into the distance. Whatever makes him feel more like themselves rather than looking straight into the camera. So if you have satisfied all these needs and they're still a little time left, then shoot for yourself. Now is the time to bring in some new props or to have lips or experiment with things that you saw on Pinterest and that you want to try out if it's appropriate for the clients. 8. Assignment 1: All right. So now to your assignment, make a list off. One polls that the parents like off their kids. And one polls that the teenager likes off themselves. And then one polls that the grand parents like off their grandkids. Three poses for animating legs without changing the rest of the body too much. And five is now. Analyze the image on the right Would like this image most grandparents or parents, all the modern. 9. Scanning Of Your Location: Let's talk about how to start the shoot As much as I enjoy teaching photography workshops, one thing drives me slightly crazy. How photographers jump right into taking photos before scanning their location. All subject. I mean, I get it. You are excited to shoot and you're attending, maybe workshop you paid for. You want to get great images for your portfolio, so there might be also as a paper shooting at the same time, and that drives you into this competition and into a paparazzi shooting mode. But you were end up with mediocre images. So instead of shooting 100 average images, take a moment, slow down and just scan your environment and your situation. So this way you will make images instead off taking them. So what we mean by scanning First off all. If you're shooting outside, have an in depth look at your location, so obviously the lights would be flattering. For your model, try to avoid harsh shadows. If you are forced to shoot at midday, see if you can find area was open shadow. Think about using a reflector to get more light into your model stays or maybe use a diffuser toe block from light. Once you're happy with your location, scan for distractions. Try to keep the background simple so that no trees, offense or polls grow out off your subjects. Head. Look out for any trash and remove it if possible, so that you don't have to spend hours and hours off fixing things and photo shop. Also really important. Watch for theorize online, especially when shooting at the beach. So position your model in a way that the line doesn't cat Syria models had. So how do you achieve this? It's really easy. You only have to change the anger you're shooting at. So if you photographic line standing at the beach with the clear horizon line, don't shoot it straight. But lower yourself so that the sky becomes your background. Or another option is that you can just have your clients it down and just shoot from above so that the water becomes the background. So next would be that you scan your subject before shooting and have a closer look to make sure that everything looks good. So first check for any distractions and make up here or closes its A face shiny, maybe need more compact powder and your streaks off mascara or loose trends off hair. Are there any visible bra straps or can be hidden or other dress straps? Maybe turned if the inland off left and second and this might sound a little harsh, but now is the time to evaluate the good, the bad, the ugly off your subject. So you still don't really think off posing at this point, but you do have to scan the face and body off your subject without being creepy. The evaluate but parts off your subject you want to highlight and what you want toe height . 10. Evaluating Your Model: so after you scanned your location, now it's time to scan your subject. So sometimes we'll tell you straightaway. What's the love for? Don't laugh about the body, but some won't. I see a lot of discussions between photographers if it's appropriate to ask the client, What do you like about the body and as their part you don't like and how to handle this without being awkward. So some photographers, especially in boudoir photography, they have, like questioning elsewhere. Clients can fill out which part off the body. They are the partner, like best. So this way the photographers kinda knows about it. But it's a bit more unknown. Noon as it's on the question there, and it's not really being openly this cast. So it's a similar discussion toe, the one that argues whether you should show your kinds the images while shooting or not. So he is my opinion. I don't ask, and most off the times I don't show any images during the shoot, either. So you say Why, uh, empathy so from herself, I wouldn't want to speak with a total stranger about my body issues, and even if it's meant to be nice and they would try to reassure me. Oh, no, you're science. They are not fed at oil. Then I just wouldn't stop thinking about it for the whole session. If they then show me an image and I'm not in the perfect polls, then it just gets worse. So the thoughts in my head would just affect my facial expressions, and the shoot could be ruined. So you were get a feeling for how confident your client this with some, you can speak openly about the appearance and with some you shouldn't. And you need to develop empathy in a way that you know how to fix the issues without becoming their therapist. And I'm it probably takes a little practice. Tau understands what are immune with that. So the vanity complex many years ago I did a photo shoot was one off my friends. She is really attractive, like cute face slim figure, and I posted the pictures on Facebook and asked her to write a little review so as us would know what to expect when shooting with me. But oddly, she didn't want toe like her pictures publicly and didn't want to write about it, and I asked her or if she didn't like the images. And she said she did, but that she couldn't openly like images off herself. She saw that would look vain. So the same happens when you ask people about their body. Do you really expect an honest answer like they say, Oh, yeah, I love my breasts so hot. So maybe your clients boyfriend really laughs a booty, and if she tells you that, that's great. But most likely, even when people secret E secretly laugh, sings about themselves, you will only hear what they hate. So especially young women. They might have a laugh hate relationship with a changing bodies. So all of a sudden I have boobs, and we don't want to show them or hiding them, depending on the situation. But maybe Then they go out and show cleavage to impress a boy when they go out with friends . But there might be really awkward about it when they visit relatives and, you know, they make remarks about to change, though other woman maybe don't fear that they have enough leverage to be considered sexy. So when women get older, most seem to hate their arms like chicken wings and men hit the beer bellies and muffin tops. And what not and tease could always be white and straighter, and legs could be longer and slimmer. You get the point so and asking them so if you ask what they like or don't like, you might potentially open a whole can off worms so you can hide everything about your client that they don't like. And quite frankly, it's often also just in the head. So I have shot senior guards, was the most amazing fails where they didn't like their feelings images because I thought they looked fat as an experiment and showed some more images. We're used the photo shop liquefied to really change them from slim to super slim and said , too fat. So such plans, you just cannot help. So a few years ago, I watched Germany's Next Top model by Heidi Klum, which is a great show for just seeing concept. Not for the drama and Russell James, who photograph the Victoria secret models. He was speaking to a new comma, modern because she didn't really feel comfortable to be photographed like implied Newt, and she had a boyfriend who didn't like such things and Russell James answered. I saw in a cool way you said something like, I'm your photographer, not your therapists. So obviously, you can't be that blunt to your client, and it also depends who you're shooting. So Peter Herlihy says quite openly in his book that he tells his clients to straighten and whiten the teas. But his clients active, and I feel that maybe a bit different because they wouldn't get the gig otherwise. For me, I don't really want to tell them. Yeah, go ahead and change something about you and I wouldn't be that frank with them because I just think they're everyday people who I don't really want to insult. But also, I wouldn't even bother thinking about such little issues like teeth whitening, because I can just fix that and photo shop. It just takes me a few seconds. So do I want to discuss the in perfect ease before hands only so that my model gets and stiff and self conscious? No way showing images. So this is also why I don't show of my images where it's shooting. I don't want that. The client gets distracted and start focusing on smile small issues that I can really easy fix in post processing. I also don't want to take them out off the smaller for day mode, where it's all about feeling glamorous and having fun. It were completely ruined. The movement. They see the image and the little lips there that they have on the North. They will become more self conscious. And if you're only shooting professional models and it's fine to show those images because they just know exactly how their body looks and that might enhance their poses. And yeah, sometimes I just even gives you. Then we're better floor professional mortar. That differs in the way that she isn't as concerned about images as she's doing this 24 7 And she knows exactly how she looks at every anger about four planes or maybe new comma models. It's so exciting and scary at the same time to be in the spotlight. So look at your kind and find other things to highlight beautiful eyes, graceful hands, curves. And it's your job to evaluate those highlights before shooting and then to single through with lighting and posing and post production. Not everybody shares its approach. If you shooting high volume, you might want to shoot desert and show your images immediately to your client. Also, some photographer shows a much so they can work out with declined. How to make it better on the flight. It really depends on the area in which you specialize, how much time and service you put into your session. And if you see photography as just that as photography or if you see it as that. So nevertheless, whatever you approaches to asking your client about themselves or if you want to show images during the shoot, the scanning and recognizing potential destruction is key to great images. It might sound complicated and time consuming at first, but the more you do it, the faster it will be. It will become instinct. It will be like location. Okay, check model. Okay, Check thinks the highlight check. And then that's just all you will do from now on. 11. Scanning vs Vision: skinning versus vision. I choose that, um, scanning on purpose. I don't use a bird vision here. There are many photography instructors out there. Will say you have to envision your image. I disagree. Maybe it sounds strange, but I find that the vision puts me under a lot off pressure. It sounds like I have to have this amazing never seen before concept that only I can envision because I'm that brilliant, but who feel so confident when you're just starting out with photography or even later. For me, it's more important that you're having fun shooting without sin, me to have a vision. Sometimes the best things happened by trial and error, and maybe these images that were envisioned by those great access. Maybe they just happen by accident, too, and they just hype it up or brag about it, Who knows? So don't freak out. Sure, if you organize a model or client, you want to come up with a certain shooting concept before hands so you can breathe them on what closes or props to bring. So was the more you can narrow it down, the more precision the image will attain in your minds. I am so emphasize that and then it's just about developing this idea further and having fun 12. Shooting Concepts : how to breathe a client or model on your shooting concept. So what? Tell them about your ideas. If you are arranging an appointment for a photo session with decline, it is common practice that you tell them about the wardrobe that should bring. They should leave closes with big globules or too bright colors and too trendy things at home. Why? Because you want to pose and shoot the session in a classy and timeless kind of way. Not that it's too distracting, because there are a lot of items that scream like 2015 for example, because nowadays maybe people don't want toe were north glasses any from any longer. So you know, just keep it more classy and more standard so that images usted nice to look at in a few years. You might think that it's a good thing you might think they come back for more photography if they don't like the images in a few years. But you don't know that they might blame their photographer for taking a dated image in charging lots off money, although it therefore for dressing like that. But it's your fault for not briefing them correctly or correcting the outfits. If you are arranging an appointment for a photo session with the Modern, they require, and even more in depth is brief. So John, one of our photography workshop attend if he wanted to arrange a trade shoot with a model, and he asked me, Is this great question recently? Hey, says what does model mean by sent me a concept off your shoot? And so this was my answer. Describing the shooting concept is very important as it shows the following. First of all, you want to show you're not a creepy guy who pretends to photograph models but just want to see goods you shows and that you actually thought about a cool concept and that they get something out of it and that it's, you know, just a little bit different to maybe, as a photographer's and even more experienced models normally only do paid work, they might be actually willing toe work TFT meaning trade for print or trade for city if the concept interest them. So on the model mayhem page, they sometimes list the whole concept off things that they would like to work on your concept has and what clothes is to bring how to do the hand makeup, and it also helps them to see if you're style and taste fits to their portfolio. It shows that this is maybe one offshoot or if they're our future, things that you could arrange and working together more often if it's the concept that can also be developed further. So how to come up the school concepts? As I mentioned before, I don't really like to have a vision, but I do think about photography and truths all of the time. Hardly a day goes by where I don't think that would be a good idea for a shoot. So I'm inspired by Billboard magazine Covers or Instagram Pinteresque. I searched sometimes for specific things on Pinterest say, then someone's buying me for other things. I'm inspired by TV. Serious movie posters, seasons on holidays, Valentine's Day. It's the Christmas ends on and even national days. So I love Waas. Writing the spoke. I actually saw that we had National Bob Wrap, Appreciation Day and immunity over thinking. How could I rep maybe modern into bubble wrap. So if you are looking for ideas, these ideas are all around you. So great concepts don't even have to cost a lot of money. So Mario Testino has a famous photographer who photographs a lot of celebrities and even royalty. He recently shot a person, a project called the Tower Serious. And I loves us approach because it shows that you don't need expensive dresses and stylists to create really cool concept. Okay, he is likely to have access to a lot off glamorous and famous people. They probably look awesome, even just in a tower. But say, I think the idea is awesome because of its simplicity. The next thing is by magazines. If you're a guy and you're thinking, Yeah, for you, it's easy. You a woman who each woman magazines are the time. So, of course you have more ideas. You're wrong. I don't like women magazines that almost off the articles for me and I couldn't care less which celebrity you wore, what, Or if Kim Kardashian's backup bigger? Or if Jennifer Lawrence lost weight with a new diet? Eso. When I buy a mega zin, I buy it for the advertising. Luckily, nowadays magazine seems to be 90% advertising and 10% information, so that's perfect. I look at designs and what rope and style and lighting and pausing. So it was the style that come close to what I would like to recreate. I ripped out off snap a picture of it, which I sent them to my model. And then she has a pretty good idea off what I'm looking for and how we can work everything out from there. So that's pretty cool. So obviously the same goals. If you find interesting images while browsing on Pinterest, for example, so you can just pin that and then you can send those ideas to your model. 13. Lens Choices: Okay, so by now you know what you want to shoot. You've scans the location and the modern, and you have an idea what looks good or bad. So now it's time to choose the right lens. I can stress enough how important this is. The main concern is always to make the model or client look better then in real life. So you might have heard after thing the camera at £10. And this is mostly because off the wrong body position, but also due to an unflattering lens choice. So what does this mean in practice, if you can always shooed with the longest lens possible and through men with your feet? So instead of shooting a group of people at the 24 million meter, put on longer lens or room completely was your telephoto lens and move far away? It might mean that you have to shout at your models to give some directions, but the images will look so much more flattering. And also, as in my side effect, you will get a compressed out of focus background to make your subject jumped from the page . So most people, they assume that's this Pok effect is only achievable with some more expensive lens that has a wider Apertura like one point toe 2.8. But you can achieve a similar compressed effect at full zoom at 5.6, or this is really long lens. So how to decide on the lens? So eight millimeters to 40 millimeters? That's like a wide angle effect. It's more abstract and creative, and that's mostly used for four body shots. Enjoying the environment. Don't use a 24 million meter for headshots unless you want to make it scientist e or like the started on purpose. And I'm not saying not to use a wire anger. Just know when to use it. It can look really than I am. I can shooting the right subjects like capturing kids, playing as the distortion. As part off the fund. 50 million meter is probably one of the most commonly used lenses, so prime lenders off a fantastic sharpness, and the 50 millimeter is great for both forelegs and 3/4 shots, and that's where the starts not too much, but yeah, just keep It may be at full body of 3/4 not for headshots. If you want to shoot a close up. Then I would recommend an 85 millimeter because that's another popular prime lands, which is really good for head shots. And it's better than the 50 millimeter because it will be less the started. So 100 million meter, 135 millimeter, a mostly used for head shots as it creates less amount off distortion. And you don't have to back off too far. So very popular. Lendl's, especially for Portrait's and weddings, assume Lendl's with a white Apertura, for example, the 24 millimeter to 70 millimeter was 2.8 or the 70 millimeters to 200 millimeter, also 2.8. So, as a rule of some, the wide as Apertura and the possibility of having a bit and stab ELISA, the deeper you have to dig into your pockets so tailenders are normally not the sharpest Prime lands us. But the flexibility off Zuma's great, especially when you're working in a fast paced environments, weddings or events we're zooming with your feet isn't always possible for compression. I love shooting with the tailor that I originally bought for White life photography, a 100 to 400 millimeter lens. The look on people's faces is quite funny when I am text that monstrosity off the lens from being in awe. She must be a professional photographer and share such a lens toe. She's crazy. It's also a little bit heavy, and I really have to shout when a moving that far back. But the effect is really great, and if I could, I would shoot portrait at 400 millimeter all day long. In my workshops, I often get asked what lends us to use, so the answer is always the same. It depends on what you need to shoot. So in the studio you don't really need a lens that has a wide Apertura because you shoot with tropes that provide enough light. Obviously, you can still shoot with a big Apertura if this is the effect that you would like to achieve but typically even shooting fashion. The Apertura is between F Aid and F 11. Then it just depends if you want to shoot four body images or close ups. So a good variety if you're shooting many fashion and portrait is like two primes, 50 millimeter and 135 millimeter if you're photographing newborn or babies than the 35 millimeter and the 100 micro might be more beneficial for you. If you're shooting outside with the light of arise, you will want to have a lens with a wider Apertura and depending on where you're shooting a tailor, length might be just more practical. So in this case, it makes sense to invest in tow a 24 to 70 and the 72 200 millimeter balls a 2.8 to just cover a lot of range. So in a perfect world where we all have a lot of money, I would recommend to have five camera bodies, all equipped with different lenses, so you don't have to swap lends us and risk potential sends a dust because I hate that stuff. If you're shooting in a clean environment like a studio, it's not really problem to swap lenses. But it still takes a lot longer than just grabbing a camera with the right lens on. So essentially was five lenses, you would probably be able to cover oil sorts off scenarios. But if you're like me and you only have a men camera and maybe a backup camera. Then you have to sing more about what you want to achieve. So recently I went toe out or workshop, and I decided that these lenses would be the best, like 50 millimeter, 1.4 and the 100 millimeter to 400 millimeter at 5.6. 14. Assignment 2: Okay, So have a look at these images and figure out what went wrong. How could scanning have improved those photographs? Think about two shooting concept that don't costume was in $20 off materials and how you would breathe a model by a woman's magazine. Cosmopolitan, Vanity Fair, vocal similar and find three adds that. Grab your attention. Analyze why you find them interesting. Isn't the look off the model, the location, the lighting's, the concept, the colors, the mood. If a photographer would ask and you decided to answer, what is the part off your body you like the most? How would you want the photographer to capture it on your next shoot? Use only one focal length and zoom with your feet. 15. Standing Poses - Body: So why don't people like their photographs? Because most snapshots are just unflattering. I will show you now how easy it is to flatter somebody by just turning the body a little bit to the side. So just look at these images now. These images are not manipulated. I only softens the modern skin a tiny, but they were taken one after the other image for mine. And six, It's just a test shot. When said was a model just stands there, and naturally she doesn't look not really relaxed or animated. Her hand looks like she has a tooth ache and it squeeze towards her body. And on the next image, I said Okay, turned to the side and put your hands on your hips. And immediately she looks more like a view itself. A modern who has a great body and waste, and having a gap between the body and arms is always flattering. So it's turning to society 16. Standing Poses - Feet: So how will be stat? I always start by posing feet, and the reason for this is that if you tell you more to turn one way or the other, they will only turn their body but not their feet. And then eventually they just drift back into their original positions. So feed first, even if they're hidden under a gown and you can even see them to create. This figure has modern have always away on their back foot while being turned sideways and the front foot. It's just like a short foot. There's no real weight on it. This way. You create this any change, and this way you can also have sends hip push, beg watts and a slim machine you can exactly right, even by pushing the hip even for us back and leaving the body towards the camera. So it was less tips and bury. The camera sees this limited loss, and thats no female model always has to be a high years because that's where she can along get the legs, and it also looks more toned. And it's not just liming, but it also enhances the world poster off the body. The exception to this is that when it doesn't fit to the story. So sometimes if you're shooting a romantic look in fear on the beach, then that works best if some other just takes a shoes off and just towards them in hand and walks forever. If you still want to see more toned legs, she could also be on her Chipotle's. 17. Standing Poses - Legs: the style offshoot and the body off the model that dictates the anger off shooting. And it's up to you to decide if you want to emphasize your models legs. So fashion ist usually shot in the ways that's a photographer. Laws himself toe really elongates the moderates legs. So when shooting from a lower position, the legs appear just longer, which is perfect when the models assets are her legs. The most common position to shoot fashion is toe lower yourself to lunch to a lunch position so you don't distort the model too much. Also, be aware that you don't want to shoot Absa moderates Nostra's So the more you lower yourself, the more modern should also tilt her head down so that it doesn't end up looking strange. Obviously, there are so many things you can do with legs. They can be kicking, and they can do all sorts of things. But to really slim them, two things are important. So either turns a model to the side and then leave a gap between the legs so they appears lemma or you can also have them crossed over to give the body that's kind off hourglass shape. if you want to shoot more front. Also next can create shape in the body by bending the leg automatically, you drops a shoulder and hips and everything looks more flattering and less symmetrical. 18. Standing Poses - Back, Core & Shoulders: the poster off the model is what makes or breaks a much you can achieve the most slimming effect, but having your model to imagine that there is a hook in her head and on this is a string that puts that hook to the ceiling. So this way your model stands perfectly straight, and it's equally important in sitting positions because most people just tend to slouch fashion magazines was like more youngish audience, like Teen Vogue or sings as America's unquote an island, their adverts or advertising the 10 to break the rules often and places rebellious cab. So they're model, slouch and have so slightly hunched back look toe, just look more edgy or hip and cool. But for your general models and clients, I would play it safe and have been with their boss posture, which means being a straight as possible. It will just along its them even further, and I'm not going to lie. The best looking animated positions movies the most uncomfortable as well. So this laptop and smartphone generation that just tend to have a really bad posture and sitting straight. We really hurt after a while, so don't forget to tell your mother to relax in between shots. And it's also important to tell you modern tools like in meaning that they put the put rebellion and poor suggest house, so explain to model it that not because she's big but that it will enhance our posture So just toe cannot sack in and in a test shoot. I forgot to explain this one, and I asked them water all the time, toe back into just pull her Bellion and later she asked me if it's because she's said. But it wasn't anything like that. She had a great figure and I felt horrible that I didn't clarify that part. In the beginning, it could have really harmed her self confidence. But luckily she brought it up by herself and we talked about it. So also, once you have taken the pictures, don't forget to tell the moderate Relax again because sacking end gets really uncomfortable . Otherwise the back can be broken down into three parts. It's the up as the middle in the lower back, and all these parts can be bend informed accordingly to achieve the best posture. So the more you create a curve in the lower back like your hollow bag, the better it's going to look. The upper back normally remains more straight, But be careful that your models don't pull the shoulders up because that just looks very stiff. So tell them to roll the shoulders bag and then two drops in or bulls or it just east one just so that this part looks a little bit more relaxed. 19. Standing Poses - Neck, Chin & Head: the more the model drops a short, the more the neck becomes elongated and it should be more visible because the longest neck , the whole area, just looks a bit more defined and more elegant. The shoulders are normally where the people carry a lot off tension, like I said, especially nowadays with the laptop generation and the results and neck looks just very compacted and left graceful. Also, be careful when posing a capital where one person rests ahead on the path. US. Shorter because sometimes I can really awkward with lots off creases in the neck. Try to find the next position that doesn't look toe really, and I always call the best position for your head the chicken shin. A lot of people who don't like to be photographed instinctively put their face back. This creates divisions even for various living people. So for the purposes, off a good image, it's really important to exaggerate a lot of poses as it just looks more toe the mansion er , and you want to create distinctive feature so it looks like more like a three dimensional image because the camera, as always, just doesn't see it, and the chin That's probably one of the most important features on the person. And, yeah, I know you would probably not hear somebody saying, Oh, yeah, my chin looks awesome. But it's important that you know how to pose with that because it changes the whole dynamic off the portrait. You really have to create a strong jawline. So I always tell my clients to mention that the chicken and if you ever watch the chicken move, you might have noticed they stick their head out and then pull it back in. And was that? That makes us clacking sounds like, but obviously your client doesn't have to make the sound, but they have to six that shit out as much as they can, even to a point where just viewed silly. And then I have to know a section, and the lowering the chin brings the eyes down, and they appear much bigger, which looks much more attractive. If your client doesn't want to be a chicken, then you can also try through Bryce approach because her clients have to imagine that kitchen is on the pen that she is pulling, so she would always say gin forward and down gin forward and down. So no matter what position your client this always have some push the chin forward and down . So sometimes when the client is really shabby and have stab urchins, I asked. I asked them to be a torture. They don't sticks in that chin like down there. Still, chicken left will bring it out. But then they were rising absolute moral ago, totally. And this were creates immediately. A different fear to the image as a body language comes into play because if you raise your chin, it can look a bit like if a model is arrogant or skeptical. So make sure that the facial expression doesn't emphasize a bitchy look. Rotating the head will softness and look yeah, more like an approachable appearance and had sitting us and generally quite cute because it looks more relaxed and natural. But be careful how to direct that. So when I just say to the model, tilt your head and I go full until it kind of ends up looking like they're Frankenstein so they can also to tow the wrong side. I want them that the tilt towards me, where the camera is just a tiny bit and to be more precise, I will say Bring your left ear a little bit more towards your shorter or I will demonstrate it so they can mirror me. 20. Standing Poses - Collarbone, Chin & Eyes Connection: was these three parts color bone, the chin and the eyes. You can actually achieve a lot off different looks. So Roberto Valenzuela He analyzes the three point combination in his book picture, Perfect Posing, and it's a great approach, but it is also very complex, so if you would like to study it further as and please do so. But here is my more simplified explanation off the connection between collarbone, gin and eyes. So if your model poses with the collarbone forward and the chin and the eyes are turned away, then the viewer looks more at the closers. The polls suggest that it's not about the model at all. It's all about her outfit. And, yeah, it's kind off a typical look that is used in commercial catalogue photography. As the closes manufacturer needs a model to represent the closes, and it's not about intensive eye contact. The next thing is the collarbone, gin and eyes forward that emphasizes that the person yeah, the viewer things. That's all about the person. So, depending on the eye contact, it can produce a range off looks from the standard Hatcher to an intense portrait. If she has the collarbone turned away and the chin away. But the eyes forward. This is a great combination. If you want to create a slightly more mysterious portrait, the next combination is that your collarbone has turned away and the chin is also a way. And this is an excellent boudoir polls, because it's sexy, but it doesn't really revere too much because you cannot hide the body, and it's also not too confrontational. So the more you can hide the body on the closes, especially when you're shooting somebody in laundry or even Newt, then that's just a more playful look, because it's not too obvious. Also, from here, you can also directs the model to lower her eyes and play with so stockings. And then it's even more off of voyeuristic look, as if the model isn't aware that you are there with your camera. So then it's a bit more like sexy and especially great for, like the Boardwalk genre. The next combination of that, the color bone is one way, and the chin and I was the other way, or even like an over shoulder glance. So again there's no real connection with the viewer, but it's a very fashionable and dynamic polls the ticket off the head. So when you're shooting front, if you tilt the head toe, the lower shorter it's considered a more masculine post. It looks relaxed and yet strong at same time. If you take the head to the higher shoulder, it's considered more feminine. You can even exaggerates its first ever. Pulling the shorter, slightly higher up in this way is a model just look, sort for or vulnerable. And it's also slightly seductive when shooting profile sent its ahead slightly towards the camera. And I mean, like into the photographers direction so and say something like that. The year is closest toe me so kind of to you and to the camera so otherwise, whenever I say, tilt your head, it's normally the other way around on, and you might think that it's a good idea because it link elongates the neck if they toe the other way, wherever you also see more flesh visible in the face, and that's normally not really flattering. If you are shooting a profile and you tell the model to look to the side, then this can be a kind off like a real strain for her neck and also for our eyes. If she looks to the side and then it's supposed to look back to you so sometimes and passion poses, the neck is exaggerated, but it starts to look very unnatural when the neck muscles are popping out. And also the modern is not an hour, so she can only turn her head so far. So just be careful on how you post that. I think it's a better. Yes, there's a better way to pose for profile. So if you wouldn't have some modern turn her back on the way to the war, and then she can look over her shoulder as this way and then you get a much better profile position. Without that, she has to really strain her next. So much you're shooting anger. So remember, depending on the angle at which you shoud body parts that are closer to the camera, they will appear bigger. So, for example, don't shoot people with various slim bodies from above because their head will look larger . And I always called us a lollypop look. But the opposite becomes true when you photograph people who are a bit bigger and you showed them from above because this way you can compress the body and then the head looks fine in comparison to the body, so always play with different angers. 21. Standing Poses - Arms: one off the biggest roots and animating the body if it bends bended. So any body part that is completely straight, it just looks different and very unnatural. So if you're photographing a bright with surveyors and let a little bit off fabric into a hand and then have yeah kind of bento arm, remember when I said to build a gap between the legs so they look slimmer, The same applies to the arms and the body. So the more you squeeze your models arm against her body, the pickers will call looks so avoid, set and build a cabin stat. So if you place your models hand on hips, you immediately created waistlines. And this can be exaggerated even further. If the model, it's not only place a hand on her ways, but if she really pushes her hand into her waist. So this way you can create this kind of fake ways, even for people who have a little bit more belly fat. We have even more boyish figure without a waistline, so you just really squeeze. And until it looks like they have a really nice waste, the form off the arms is also very important. because I notice that my model has really, really long arms. I don't want to use poses, whether just anger down because they will appear even longer. So I like poses with arms, kind of frames of phase in this way, when arms Abend, you don't really notice anymore how long they are. However, this post doesn't work when the model has very muscular or big arms, as I find that there isn't too much flesh with just distract from her face. So in this case it should hide the arms behind the bag, or maybe have just the one hand on the hips, and you want to avoid any attention, then, which would makes in the muscle look even bigger. Keep it asymmetrical. So whatever pose you do, try to avoid that left and the right side off the body are doing the exact same thing. Have one shoulder a little bit lower than the other or one arm a little bit lower or higher than the other, because if it's more asymmetrical, just look so much more dynamic and a lot more interesting. There's one exception when you don't want to create the gap between arms and body And that's the only time. Yeah, when I think it just wouldn't look flattering. And that's when you're shooting headshots. So if you only focus on the head, then you don't really want that. The model is sticking her shoulders out because that makes the whole head shot just like really white. So in this case, you can tell your model to just squeeze the edibles against her body, because this way, the shoulders attacked in and it appears a lot slimmer was arms. You can do so many things you can go from, like, normal to funky, like up in the air. I don't care. Anything can look great in the right context. And there's one other thing I want to let you know. What's that when you rest your arms or the model arms on the fence or war? Because I see a lot of images from photographers when you have the model canned off rests on offends. But it's really weird because once more, if you shoot in the way that the airboat is taking out, which means it's closer to you. That's just not attractive, because variables and knees that are rough and the normally just don't look that good, so try to avoid this kind of position and also when they squish their arms and anything, it will make them look larger. So I would try to avoid that as well. Also, the next problem I see with this pose a lot of that. The kind of the unrest of faith against the crossed arms and then the head of candidate it . The problem is also it's kind of a cute idea, but if they just have had resting so hard, it kindness, clashes, said Cheek. So if you want to use a fence or gate, then Raza use it as a leaning prop because I think that's fine. But try toe, not squish anything because any squished, squashed flesh that were just look so much bigger and camera, and it's normally not really flattering. 22. Standing Poses - Hands: hands are one off the most problematic issues for many photographers. What to do with them when they're not holding a prop? So rule number one just hide them. So when and out hide them, the model can cross their arms so they're not visible or if they are visible on top off the arms. Just be careful that the fingers don't look like claws. So fingers should be close to each other and the little bit curve toe that they're just a little bit more gracious. You can also hide hands in pockets. However, if you do, you have to hide. It's a whole other hand and not have so some out. Can you see this? Yeah, so this is supposed to see a lot and male photography and the always thing. It looks a little strange. Injustice, some hanging out so easily, hide it fully or instead off using the pocket. You can also just use a bad group or have just have some just hanging the bed loop. And sometimes I also have some ordered six their hands like into the break back pocket. I think that that's kind off relaxed and fun polls as well. Rule number, tow. Avoid fake hands. Don't have the hands toe anything that looks unnatural. I time my photography students all the time that a great portray has to tell a story. So even when you're shooting in the studio environment and you just have a plane or high key background, then you still can tell a story. It's just then about your model or your client, and that's about the style and the expression and one off my pet peeve poses. Is this hand on shoulder? Why would anybody ever have the hand rested on the shorter just looks various theatrical, and it's just not very natural. So it's nearly as bad as my other pet peeve in outdoor model photography, where the photographer says, Go over there and smells a flower. In my opinion, it's very outdated, and I think it should stay in the eighties. So please avoid such poses and think about something that's just a bit more. It can be edgy, but it should also be a bit more natural. So if the hands has to be on the shorter tryingto have a do something like maybe adjusting a bra strap, or maybe just stroking or just, I don't know that it looks maybe more central, but that it does something and that it's not just resting on the shorter rule. Number three avoids a bunch off bananas effect the moment you have your mother. Like rest of Arab O R arm onto something, you run into this dangerous territory, the bunch off banana effect. So what does it mean? It just means that all the fingers and hanging down without any engagement. So that just looked like this lifeless Bunge off bananas. So try to avoid either the whole polls with this happened so that the hand was just angling down. Or maybe have the model just lift her fingers or maybe slightly curved. So it looks a bit more gracious. So on this picture, yeah, I don't really mind the models. Right hand was the viewer's left because it's curd. However, the other hand doesn't look animated. Really, because of fingers, they're just hanging down, so I like the head positions. Oh, and I would just crops this picture in post production. So that's the hands are not visible anymore. Rule number four Look at your hands right now. Do you notice something? No, place them on your face. Do you notice something now? They are huge. They're nearly aspect as your face. So why cause this cause of problem? So when your model poses her foil hand like the back off the hands close to her face, her hand will get as much light as her face, and it becomes very distracting. Remember, you always want to create features that attractive and not distracting. So the viewers I've should go to the face and not to the hand off the model. So if you're shooting a guy and he rests his head on his hands, what's showing the back off the hands? It's their catches light, but it's kind of okay because it's considered this kind off more masculine poles, and therefore it's not as distracting. But if you're shooting a woman, you should not show the back off the hand, but society instead. So how can you do this? So basically, you just tell your model toe rolls arrest around and just lets the fingers yeah, slightly curl up and immediately it looks a lot more graceful, and it doesn't catch so much light. This brings us to rule number five so That brings us a step further sink Bally hands. So we want to pose hands as graciously as you see dancer. Place them so you don't have to study by Lee. But just Yeah, I have Maybe look at pictures of us on and then you will notice. How was that? Just brings the middle finger and some together and Walla it just looks so much more gracious. Hands are after the eyes, the part off the body that communicates the most. So it helps really a lot about a person or how awkward the person feels or how engaged there. They will also give away when opposes to fake or it just doesn't look natural. So if you want to look for signs in people's body language, you just have to look at their hands hence often visible when the motor crosses her arms. So make sure that the fingers are like in the kind of together in a smaller gap. And that's a look relaxed and slightly Kurt. Otherwise, the fingers can just look like claws, hence can adversely effect image. So take your time to finance the polls until you're really happy with them. A lot of times as the images where the hands are placed on the face and it can look nice like a broody or romantic look. But the fingers have to be soft and spread on the face. So don't just push the hand onto your face because it will just look like your model has a toothache. Here are a few tips, so placing the hand in a gentle way close to the face is great if you want to show off like stylish rings or jewelry. 23. Standing Poses - Props: when the modern really doesn't know what to do with her hands and you can't think of anything else, then just try some props, but only if they fit with the story you are telling. Not just because a model holding a suitcase in her hand but she's in the studio environment so that just doesn't make any fence. If you want to do something with language, then you really have to shoot outside on some cool abandon road or somewhere. This prop would fit closing related props of the easiest to use for any story, so a jacket can be thrown over the shoulder for kind of like a relaxed look. All the model can wear it and then put her hands on the color. So for more edgy fashion look, she can also pose a color to each side, and then it just looks more funky so hands can be used to keep the jacket open or she can wrap her arms around her so than she looks more vulnerable. And also heads are great so the model can place the hands onto them on Jesus I it and can just favor set. It's also great of some moderate can play with jewelry such as necklaces or earrings, because that normally just looks more. Yeah, like it's a kind of sexy and subtle, and it's not exactly showing off like, Oh, here's my awesome prop. But it kind of looks more natural, like she sought for, and normally you can create a great variety off looks with those items. 24. Standing Poses - Facial Expressions: in one off my reason. Workshops one off, the photographers asked. How do direct facial expressions? And until then, I hadn't really thought or talked a lot about facial expressions because I don't really believe in directing them. If you tell somebody, say cheese or smile, most people will look freakin like they just want to eat you rather than producing a genuine smile. When people are very serious, I will sometimes tell them to give me a little smile. That seems to work, but better in general, as they only have to lift them out the tiny. But so you won't get too much off a fake expression, however, to achieve great expressions. You as a person as a key. Maybe I should have told you this from the beginning. But if you are very shy and very introverted person who doesn't want to communicate at all than people, photography is not for you. Sorry. Stick to landscapes or what life. However, I didn't say this in the beginning, because I think and so many things, even a shy and awkward person, they can learn how to communicate. It's just a matter off practice, really, and I don't consider myself as an overly chatty person because if I had the choice to mingle at the party, office it on my couch on my couch at home and watch Netflix and have a pizza slice in my hands, then probably that's something I would rather do than mingle with a lot of people at a party. However, I need a lot off extroverted photographers who are great talkers, and they don't seem to have a care in the world. And I think this is very cool, however, sometimes because they're so into themselves, they can kind of miss important moments was a client. So I went to a workshop recently and there waas one good that was so outgoing and fun to be with and Oz a model, really laughter. But she was chatting all the time, and instead of taking pictures in between, she was too busy talking. So you should talk by shooting, but always have your camera ready so you don't miss any general expressions, so it doesn't have to be a full on conversation. Sometimes I just say quietly, All that's great. Wow, gorgeous are go back to this post that look really lovely. Do this again. Put your hands up. Ah, wonderful. So here's my naughty little secret. I tells us to my model or my client, even if it doesn't look great because I takes a picture anyway, knowing that I really lead. It's a digital age. So what? But I just don't want to interrupt the floor because the moment I stop and I look at my LCD screen and I'm like, Yeah, that looks crap. I don't like this one now that doesn't look good either. In my model will go blank, they will become self conscious and the expressions they're gone. So just takes a shot and develop it into something that looks more flattering. Communication is key, especially when you bring mortars into challenging positions. So I was running a workshop, shooting pole dances and evening gowns, and one off the guys had the dancer in this position while he took one shot. And then he studied his camera for like a minute. Do you know how challenging it is, toe hanging from a pole? Well, I'm not a poet answer, but I guess it's very challenging, so you better just chim quickly and then you go back to the shot. So it was jumping. That just means that you look at your LCD screens and then when? When you like suppose, then you just tell you are dancer to relax. Otherwise you just bring them back into the polls and then you continue with the shoot. So instead of being an introvert or extrovert, be an ambi. Bert. Yes, this is actually a real thing. So an introvert is too shy to go to the party. The extroverts can hardly wait to shut with all the people, mostly about himself. However, the Amby Burfoot doesn't look forward to the party, but looks forward to seeing the people he or she knows. So it means that you don't have to be a social butterfly, but you have to switch on an interest for your model. And as I mentioned in the beginning, you need to develop embassy. Nobody is that keen on having their pictures taken by a complete stranger. So it's important to reassure your clients all the time that this isn't like going to the dentist, but that you are having fun and that you are a professional person and that only you can capture them and the beautiful moments, even if you ask most. Clueless Stata photographer. Don't let your client no here, fake it till you make it. It's really great. Valuable advice don't gives the client a reason to doubt your ability. Don't say things after the session like, Well, that wasn't toe bed. You made it because again, your client is not at the dentist. Having the picture taken by uber should become the addiction. So makes the experience as awesome as possible. Even if you aren't a pro photographer yet, ask them to bring their favorite music so that they can have fun posing and that they feel like a superstar. Also, it helps when you have strings off next, ready for when they need a break. This is how they will laugh, shooting with you, and you can see it on an image on a person's face that they really connected with their photographer. But what if they still don't have the best facial expressions? So, a while ago, I helped the opinion that I don't ask for expressions, as I thought. People are who they are. Some are naturally big smiler. Some are small smiles and some just look miserable. So seeing celebrities in their resting bitch face is, it means that their face looks miserable even when they're happy on the inside. So for them, it's kind of a trademark, but our client might not even know about it, and then you probably say, How can they not know about it? But for me, it's like I know all about posing, and yet I kind of perfected this deer in headlight look like whenever my husband takes an image off me, he has to say, Relax your eyes and you know he would think and knows this instinctively, that I know how to look good. But I'm still like this. So even for me it's hot because I'm not a model. I'm good at directing people, but I have no real idea about how I look when I'm not actually having a mirror in front of me. And if you think that's a strange, then go ahead and draw an image off your watch right now without looking at it, unless you have a smart watch, because it's too easy. But I bet anybody else can draw replicate image off their watch. Although we look at it hundreds off times So just because we see something a lot, it doesn't mean we are really aware of it or that we can control it. So if your client looks grumpy by nature, you will have to work a little bit harder. 25. Standing Poses - To Smile Or Not To Smile: so to smile or not to smile. So one day I had, like, a senior clients, and she hardly smiled and I thought, OK, that's not your thing But after as a shoot, she asked me if she could see more images where she smiled, But I only had, like, 10 off them and all the other images. We're serious. So even when people are not naturally happy, go lucky. Smile us. You need to pull it out off them. So how can you do this? So for me, I irritate them. So some photographers have a message off confusing clients by giving them funny tasks so that clients have to do something like pretending to be a cucumber or just think of anything ridiculous to make you more laugh. So this works wonderful them. It's a little cheesy, but people are cracking up and the photographer gets great expressions. It's easier when you're working with clients who are actors like movie, tv or theater, because for them it's easy to slide into any character, and you have so they can just pull off any expression, really. But for non actors, it can really help if they imagine a scene So I'm not that creative and storytelling or finding strange tasks. Or maybe I'm just not that funny. My approach is different. So remember when I told you that always reissue of the client that they look really great, right? But I don't do this always so sometimes to get real love and expression I can off inside them. Yes, that's right. I will tell them something like, Well, that was awful. My 80 year old grandma can do a better post a new Okay, let's do this again. And this time just looked less miserable. And first they are like I can't believe she just said that. But then they look at me and I'm smiling so they know I'm not serious. So I'm just poking fun ism. But it helps to just lose in somebody up, and normally then they're just cracking up laughing. And then I get really good expressions. However, when you capture people laughter, it's important that you keep shooting because really laugh can look a bit like a main yet because people this rules ahead, Beck and all. They can also push the face down, which creates double chins. But the expression right after this is normally the really good one, so keep shooting 26. Standing Poses - Eyes: I was probably the most important part off any good portrait because, as you know, eyes are said to be the window to our soil and shows the most expression. They also can lie so we can pretend to smile with our lips. But if the eyes don't play along than the world thing looks forced. So if you ever watched America's next top Model, then you know the Tyra Banks came up with this word smiles, which means to smile with your eyes. Peter Hurley. He has a similar concept, and he calls us scrunching, and it's a kind of a play on word for squinting but just a pinch. So instead of having your model looked like a deer in the headlights was big, open, fearful eyes. It looks more confident when I as a slightly narrowed and for this local modern doesn't really squint with which yeah would involve the upper eyelids but only puts up the skin under the eye. And I agree that this can look very confident, especially when you should guys like businessmen or moderates and also, if you should younger women. But be careful when shooting world of women because the moment you tell your model to put pull ups the lower part off, See, I it create these kind of wrinkles or crow's Kraus feet in the corner, off the eyes. So it's up to you to evaluate the pros and cons off this look. So I tried it for myself, but I look rather silly when ice cringe. So go ahead and see if you like this expression. Catch lights. So another area where photographers have different approaches, this house, a light head shots and what kind off catch like they want to create. So Peter Hurley He uses this 3 to 4 continuous lights, and he puts one left, one right, one up, one down. Or sometimes he also has kind of a triangle look, and it creates a very flat light. And the catch light looks a little bit like a box around the pupil, so it's kind off a great look, for I don't hide anything. Look as there are no real shadows and it's just very evenly lit, so I can imagine why a lot off agencies like to audition actors with such a profile and much because it just looks very natural and everything is out in the open so the agency can evaluate any blemishes are like facial features off the model of the actor. Also, if you think about it from the psychology behind, this would also work great with headshots for bankers because he wouldn't trust your money to some guy who's head shot is dark and moody into spaces half in shadow. So this set up is very precise to his work, and head shots are his new, so he doesn't need any other lights. But I like working with light and shadow as I find bulls very important in shaping and like a model's face or body so that they appear slimmer and also more refined. So a traditional, even if you work with like studio strobes and soft boxes, or even just was a speed light. You, Yeah, you only want to create this one catch light in the eye, so this catch light looks best if it's a 10 or a two o'clock, depending from which side your light is coming. The reason for this is that the North shadow that gets created by using a light looks most flattering this way as a points downwards. So if your lights are not at 45 degree angle over your model and they are too low. Then you will create a catch like that, either at nine or 30 clock or even lower, and the I like it eight or 40 clock. So with that said, we were risk creating like an uplifting effect which will look like a horror movie. So think black, which projects and the torch under the chin off the actress. So apply Ting isn't flattering unless you are using it as a second light source just to minimize shadows. But then that's called clamshell lighting because it's like temperature. So sometimes in beauty photography, they also use a reflector from underneath to minimize shadows under the nose and chin. Similar look to the clamshell lighting. So if you look at photographs and study subjects eyes and catch light, then this will give you a great understanding off what light sources were used. The same. Tow. Avoid. Don't create a catch light on the left and on the right side off your subjects eyes, unless you want relief, let light or are doing event photography where you shoot big groups off people 27. Lighting & The Importance Of The Pupils: so in the event photography. It's really fast paced, and the easiest way to set up it's like having a stroke was umbrellas left and right. You don't really spend enough time with an individual client to worry about flattering them . But you produce images on Mass, where you need to create simper and great light for oil off the people. So why is the catch light so important? Because without it the eyes appear dark and lifeless. The catch light. You really let's ice Parker and it's more character toe the portrait again fled. Light means headlight. The reason I don't think that's a dual catch Let scenario is great is that it creates a sled lighting, meaning no shadows at all. And flat lights is fat because everything is so equally little, and especially when you have models was round or chubby faces. You really want to create shadows with this kind of short lighting effect, to slim them and to create better shape. So if you imagine a clock on the floor and your camera is like a six oclock, then you lie. It should be positioned at eight oclock and your model is facing towards the light. But as you are shooting from six o'clock, so shadow side than your models, she closest to the camera is nicely shaped by a shadow. What's the rest? Off? The face is lit by the light as usual. Sometimes you can break the rule, so if a model is very slim, you don't maybe want any shadow and the image. Or maybe you don't even have the time for individual set ups. If you're shooting events, then sled lighting. It's obviously okay, small pupils or big pupils. So the other thing that happens with continuous light set up is that the pupils off the model or client become really small as the person is staring into the light. So Peter Hurley he uses for his advantage and teachers the class big pupil sock. And he thinks that's more pupils mean that there's more visible eye color and therefore it's a better photograph. However, I don't really find the big pupil sack. I think they can look very sexy and dramatic, especially when you're shooting boudoir and more moody portrait. So as usual, it is up to you to evaluate if you like a certain look. So for me it's a matter off the use case. So if you want to produce a portrait where a lot off the iris and the eye color is visible , because sometimes it's also fun to change or intensify. Aikawa and Photo Shop then should in a way, that's a model has to look into the light. If you want to create a portray with big, moody pupils, then you should shoot in the dark of space. So I personally like big pupils and a rarely used modeling or continuous light on my strokes because it would just generate so much heat. And as I live in California, I don't want you to cause my model to sweat even more on there's a modeling lights and sweaty skin is very reflective, and that would require a lot of retouching. So by default, most off my clients, I end up with bigger pupils. As the studios tropes are so fast that the pupils don't really get the chance to shrink with shape off the catch light looks better round square or long, so this is really up to you. Some photographers, they're like umbrellas or beauty dishes to create around catch light. Personally, I think an umbrella is fine when shooting events because it's an even set up. But in studio environment, I prefer soft boxes as you can control the light better than an umbrella. However, if you like the higher contrast and hash a light off a beauty dish than this creates a nice round catch. Lay two soft boxes. They created squarish catch light, and some people find that looks more natural. It looks more like light coming from a window I personally often use. Also, strip lights is my main light because it looks more dramatic and also because I like this longer and sinner shape off the catch light. So another tip. As I said before, I try to avoid that. The model looks too far off because you don't want to see only eye whites. But you also don't want to turn the head to Father the I in the place with the line off the face, so you should be able to see the edge off the face before you see is a second. I 28. Flattering Effects & Catchlights For Eyes: can eyes. So I start to look creepy when toe, and so far that they mostly are made out off I white. And just that I write is visible. This often happens when you say, Look over there and instead of turning the head the mortar, just chance her eyes. So, however, the I Y does look good when you do the can new effect. So for this, you have to shoot the model from a slightly higher anger so the model could sit down on a chair, or you can just raise yourself up. Also, she could just lower Hitchen and look right up to you. So this way the I y it under the pupil is visible as it curves under the pupil, and it looks like a KANU, so this is considered very attractive, especially in beauty photography. So what can you do when one eye is bigger than the ASM? So that depends on how much bigger it iss, so it it's a head off the modern, so that's a small I is a bit lower or turns ahead. So the small iess first from the camera things that efforts away from the camera appear smaller anyway, so it's not as noticeable anymore or if there is too much off a difference. You can also try putting because a smaller I towards a camera, then you have the four shortening that makes it bigger. Remember things we want to emphasize. We kind of turn to the camera and things we want to make. Smaller meat now puts them further away from the camera. So this way it could also work to make eyes appear more equal. Recently, a photographer tried to convince me that it looks better to focus on the I that is in the light, meaning if you're using a short lighting, the I closest to the camera is in shadow. So he focused on the other I and there is this common saying and photography that's the viewer traveled through an image from doc too bright and from blurry to shop, so the most important thing should be bright and shop. However, this rule does not apply to the eyes. Eyes are so important that this House of Ur connects to the portrait. So even though the viewer looks at the image from shadow to lie it, the first thing the viewer noticed it still is the closest or the first I. And if it's blurry, not only cans of you are not connect with the image, but a blurry. I also looks a little bit creepy or blind or like a zombie. It doesn't matter that it's in shadow. The view understands the concept off light and shadow, but it has to be shop. The viewer has also less off a problem with the second I. That's further away from the camera being blurry because we are used to that, especially as most people don't have 2020 vision things further away. They get blurry. But you might want to explain to your client that this happens when you're shooting with the white Apertura, so you have a beautifully blood background but sadly, also a slightly blurry I. So if the client fine visits and great as the wise, you might want to switch to a small aperture. Or you can also fix it in photo shop by swapping eyes like copy and mirrors a shop I and Layer. It was a slightly blurry one, so let's talk about eyebrows. Most makeup artists are obsessed with eyebrows. Why? Because they are really important for creating expressions, so the signals and the shape makes a face appear more confident or also younger and ive depending on the style. So when shooting, make sure that's the eyes and the eyebrows a relaxed and as yes, it's a form off. The browse also gives the client questions or doubts about your posing. So if the brows are lifted, it looks like he or she doesn't believe what you're saying. And if they're put together, your client this frowning, intense. So if you have some luxury off working with a makeup artist, then make sure that they look at the brows and bring them into form so that there are no stray hairs because again, that's really time consuming to fix in post production. So one as a quick tip. It's about the eye position. So that's a great way to create a variety off expressions. Is Thea Optician message. So tell the model of declines to do the following with their eyes, but not with the head that they can look up. Look down, look left, look right. And these movements can often change the whole storytelling and mood often image. Without that, you really need to change a lot, so just keep in mind that you don't want to see too much I white when they're looking left or right, but otherwise, it's a really fun trick if you want to create a different mood in the couple of seconds. 29. Standing Poses - The Nose: noses as a path off the face where Mother Nature can be incredibly cruel. It can be to Why too long, too small or crooked or snap noses. So it's important to evaluate and knows beforehand. I have one friend who hates her nose and profile meaning like looking to the side and my other friend hates and nose from the front. So trying to do a head shot with Sir, it's just impossible. So it's all about positioning the face to a point where the nose looks the most flattering . The biggest mistake I see is that people turned the face into a position wasn't no starts to cut the profile off the face, so it's kind of going through the edge off the cheek. So even if your client has a small nose, if you do this, then the nose automatically looks larger. So how to avoid this? So easa should? A complete profile means that only one eye is visible because you don't want to see that even the leisure's on the other. I Oh, if you're shooting more front, then turn. Your clients had only a little bit away. I always direct with my hands. I push one hand out and tear declined to imagine. His nose is now connected to my hand. When my hand moves left or right, so does his oh, hell face. And when my hand is at anger or rotates, so does his or her head. There's also helps to avoid that Your client's eyes look strained, as I mentioned before so often, when the client is in profile position and the only tears I'm look away, they look so far away that only will see the white in the I be as precise as you can in your direction and have some follow your hand with their nose or eyes. 30. Standing Poses - Mouth and Lips: as I mentioned before, any smile should be gentlemen and not too directed. The mouse can hold a lot of tension. When you see that your model tenses up with their mouth and jaw, just tell her to wiggle her nose like a bunny. This normally relax with the lips and the mouth. Smiles can be very different, depending of some more likes to show her tees or not. So go for different approaches with smiles and with either lips closed or if you want to have cities visible. So some people show a lot off gum when the smile and quite a few photographers like that and as a stoned. So it's the same when they have a gap between the teeth. Some people hates us on themselves, and I personally think it looks cool. So if you don't use a makeup artist, but the client or model styles herself, then has I'm also to bring the lipstick or some lip fine because one off the biggest No, no. In any portrayal, I correct lips. Also, be careful on how erotic you go when posing a model, especially in Bordeaux images. It can look quite sexy. Even the lips are slightly open. However, when the moment mouse's like wide open, it looks kind off or gas make, especially when the head was thrown back. So be a little bit careful when you position somebody into these poses. 31. Standing Poses - Ears: years are probably the kind off body parts we are happy toe have, but we don't care too much for the way they look. Plus, they're still grows. The older we become, and they might get Harry's. Or when you're shooting women in the hair covers years and it's not really a problem. But when you're shooting women with shorter hair or updos and men, then you need to sing a little bit what you do with those ears, and we're thinking about them. I mean, I don't like them. So position your flash or your strobe in the way that the years don't catch any light as they appear really read. Because off the release and skin flows and more that years are in shadow, the less noticeable they are when shooting will Strop's glasses can be an issue as a catch reflection. There are some frames where you can just pops the glasses in and out off the frame. That's obviously is easiest, so your subject can, whereas the usual style. Without that, you have to worry about any reflections. However, if that's not possible, then you have to play a little bit with the angle off the glasses that normally helps when your model pushes a frame up a little bit higher than the year, so that's the glasses. Tip more onto the nose. Also, if you're using bigger soft boxes, that also works to minimize the reflections, the picture that ever show you here and we'll see elderly couple that was taken with a very small soft box. So the smaller of the light sauce is compared to the subject. Obviously, the harder the lighters and the heart it is, the more likely it will through a reflection, especially if it's close to the subject. So that's why you see some glare on the glasses off the woman, but not on the man here. However, a different angle off the glasses would have probably helped on this picture Here. I used the massive soft box like 60 times 40 and they were a few feet away, so glare never cured. So if you don't own such big soft boxes and yeah, you can also once more you can just play with the angle off the glasses. Or you can also see if you can just feathers a light rather than pointing the box right at your subjects. If you're subject usually wears glasses but doesn't want to wear them for the shoot, then suggest them that they removed the glasses at least 30 minutes before the shoot. Otherwise they will be, Yeah, like noticeable marks on the subjects knows, and that means a lot of retouching, which is no fun. 32. Standing Poses - Hair: So this lecture about hair is dedicated to back that went one off my posing workshops, and after I did my demonstration, he started to pose a model, and it was really good until he said, Do something with that hair so well, that's not so good. If you're working with a pro model, she might know what to do a problem or flows through her posers. Every time she hears the studio light recycled with Bieber, she will just do another post. But what if the accesses to the clients they wouldn't have a clue. So let's help him by becoming more precise here. So first off are the initial idea was great. If the modern has beautiful here, why not use it like a prop? So how can we animate it? Um so the a different way So you can direct your model or clients so you could pretend you're doing like a ponytail and that there was the hair up. You can pretend you're that they do like a messy upto, and I could just hold it down or than they could also just let it for down. They could maybe just call it around the finger they can bring the hair oil to one side. All you could tell them that they kind of just bring it to the side. And then they just braided You can split the hair and that they kind of just go on both sides. You could call it up. Something like that. You can bring Zaheer and hand the hand into the hands of that. They're really just mess it up. You can flip the hair and capture this movement. Uh, you can hold the hair out, dispose hand something like this. If you want to be just more funky or playful, you could also just have some more with suddenly movers, whether just wipes their hair gently back or they kind of just stroke. The handbag is away. They can just save set This way they could stroke their hair. They can also pull their hair toe one side. What's again? A little bit more off a funky move with something like this was I could just basically be gentle. They can be crazy or gentle and just maybe just stroke the hair or they could also maybe just looking down and then they could just cause I have this way, so you can also have different looks, depending. If so, I brought maybe some hairpieces or maybe flower rests O r. Either you can play with different props, or you can even wet their hair if you have a hairdryer close by because and that also gives a completely different look if it's wet and curly, or you can also use a wind machine for direct hair movement. Be careful that when your model has long here and you're shooting profiles. But it doesn't start to look like a beard when it hangs over the shoulder into the camera, so that could be just a little bit weird. Also, long hair can also look sometimes like, um, pit hair. So you also want to avoid that. It comes out off the arm as usual. If you have selects Serie Off a hair and makeup artist, then this is great. Hair at us can quickly change your models. They are toe match, the look she's wearing, and this could be like funky or elegant and so on. That's where you can just create a greater variety off images, and if they also bring props like flower rest or bozo bands Just play with that because that might be beneficial to if you want to use a wind machine and just be careful and using them because a the model can't hear you that well. So you might have to shout your instructions louder and be just be careful that she doesn't get to court because also, goose bums don't look with. But you want that she's comfortable. Also, the air might just make her eyes really dry, especially if she wears contacts. You don't want that. Our eyes are getting infected, so I was asked if the model is comfortable. 33. The Chocolate Side: you made it. Answer here. Congratulations. Now it's time you deserve to know. My biggest secrets, maybe you notice is already even Wife's studying my pictures. So remember in the beginning that I told you how to scan your model and to evaluate what looks good and what to highlights in your poor traits. So we were developed was now a little bit further. Yes. Ago I ran into the problem that I waas. Yeah, I was renting a photography studio and that was equipped with huge soft boxes. Biggest things I've ever seen, and heavy as head to roll around. So the owner assets is up in my pets. PIF set up one soft box on the right and one soft books on the left and fled lighting and no shadows. I wanted to change this and to use the main key light and remove the other as far back as possible. So it will only be the fill light without producing another catch. Life in the eye off my model. I also wanted to set these up before the moral entered the studio. As I didn't want to start moving these heavy bees around and be drenched in sweat in front of the Modern or the client, though the issue waas on Which side should I set this up? So the Germans like me? We have a saying for some one's better half. So because of Stroke Aladdin fighter. So how would I know beforehand which side off my client will sit so her chocolate side? No idea. So I put my key light on the right side and just started to pose the moderns. Two watts. US was short lightning. So the strangest thing happened. Most off the models. They just started to pose this way because I told them, and then when I would say to them Now it's your time, do whatever you want. Freestyle. Then they would just turn to the other side. So some even mentioned that, like the left side, better meaning they had to look to the right person's. My set up was I had to look to the left because I wanted to have so short lighting after 10 models. It's the same thing. Turning from the side to the side, I thought it was time to evaluate the situation. I looked at all those images off these models and Yeah, they were correct. Their left side off the face was a little bit more photogenic than the right side. And honestly, this is also what I do When I pose for a snap, I instinctively turned my body to the right so that my face is photographed from the left. So I saw I'm onto something here and apparently signs agrees with me. So I found Attica that says the following. So Carrie Blackburn and James Cheryl from Wake Forest University say their work shows that the images off the left side off the faith are perceived and rated as more pleasant than the pictures off the right side off the face. So they suggest the difference might be due to greater intensity off emotion exhibited on our left side, and their work is published online in the journal Experimental Brain Research. So next time, if you're wondering if you should post people left, all right, just think Mona Lisa, because they now know the Vinci was obviously onto something, too. So obviously this isn't true for everybody. That's why I always say 10 or clock or two o'clock when talking about catch lights, not just 10 o'clock but my key light set up to my left for 85% off my shoots. But I still take the time to scan the Modern when he or she enters the studio. And then I would also switch the light if I think it will look better from the other side. Sometimes it's really easy to figure out someone's chocolate side. You look at some moderates hairstyle, especially when they have bangs that fall into a certain direction. Because if I would have my banks this way and I will turn this way, you would look against the soul, and that just wouldn't look that good. So some ideas occur when you just look to the modern. Also, depending on different eye and ear sizes, it can be beneficial to shoot left and right to see what looks better and when and out heft in turn slowly, 360 degrees. This way you get a good idea. Apparently, only a few percentage of the population have truly symmetrical faces. So while it's turning your client, it should really help you to figure out the chocolate side 34. The Chocolate Side And Hair Accessories: there is another weird thing I want to let you know. So if your model Weir's hair accessories like a flower in one side, you might think this is in the side. She wants to be photographed at. However, this might not be necessarily be a chocolate site, but society that you re just because off how she has handed. So I'm right handed. Therefore, it is easier for me to place a flower onto the side off my head, so I obviously would turn now in a way that you can photographs that flower, although this does not mean I would normally turn this way. So make sure that if you think that on the other side, off the face of more photogenic that you are a hair stylist, can position the item in a way that it makes more sense. So if I demonstrate us to you and it's going to be messing now, but I'm sorry. So let's say I want to place my own flower because I want to come already ready for the shoot. So it would some how get my hair up like this, anything like that. It's going to be messy, but just so that you get the idea. So like I said, the problem is I'm right handed. So I need my left hand to hold my hair into position. So if I would just pose like that, I would just go like that wherever I want to bring this hair accessory now into my hair so I can't really reach always away in here to stick it. I mean, I could probably somehow, but I can really, because it's just it's just too far away. So naturally, I would stick this accessory into here to somehow secure it a little bit better. Something like this. Hopefully the sticks. Okay, that something like that Not perfect. But you get the idea. So let's say this is the hairstyle. I want you that you shoot me. Was that kind of style So normally it would turn into this way because that's my favorite side. However, now the only way how I could place this flower is on the side and you would obviously want to shoot the flower. So now I would have to go this way and that's a mirror. A few 101 looking. That's why now, But yeah, So you would naturally position me now. This way. So just be careful that you do your evaluation. And if the flower isn't at the right position, just let your hair style. No. Or maybe you just help your model out to put it into the right place. 35. Assignment 3: have a look at these pictures and identify common posing mistakes. Do a photo session and focus on all the possibilities. How you can pose hands gracefully to afford succession and focus on the model's hair. Come up with three different looks is a by having her do something with it all by booking a hair stylist to change. Is it for you? Explore facial expressions, look into a mirror and come up with five different emotions. Find the prop in your living room that you will use in your next shoot. 36. Sitting Poses - On A Chair: all right, so let's talk about sitting and lying positions. So if you tell an inexperienced model our client to sit down, they will sit down on the chair if they're watching TV. And as you can imagine, this is just not very flattering. So make sure that the light moves to which means to lower it when going from a standing into a sitting position, the catch light and the I should still be a 10 AM or two PM, and if the model things into the chair, it means the upper body is further away than her legs and selects will appear bigger. So let's have a look at this image. The Modern knows how to sit down in an elegant way, and that is very complimentary. So she sits on her hip rather on her behind, and it's flattering to see the body from the side, also her right elbow and Lexa on one plane, which is great. So it would have been even better if her head had inherited a tiny bit more forward. Because this way it would have been also on. One plane was legs, but it's OK. The eyes of still and focus and shop due to the Apertura off 7.1. Also, the client should sit as much on the edge off the chairs possible and always more on the bone off the hip than on the flesh. Even it's a little bit uncomfortable. It looks better to roll onto the hip rather than sitting on your where behind. So even when sitting illustrator Bag looks more glamorous and more slimming than a hunchback. So this model obviously has really great shape to her body because off how she sits kind of like straight and forward. And that's how she's creating a waistline. And her arms are really nice, because that way you can create a nice F line. Be careful when the moral wears a short dress, you never want to place a model into a position where you photograph into her groin area. If you do, her panties might be visible. And if she doesn't wear any well, then you might experience a basic instinct moments, and you are probably shooting a very different genre off photography, so keep it classy. No spread, eager and no other entertainment, so you can avoid such faux pas in two ways. So don't pull some modern sitting with the knees forward, but those knees together. So either side off the chair. So again it looks more slimming when the model rolls onto her hip. Alternatively, if the dress stretches this way, you can pose one need to the camera and healthy as I come across so the foot stretches out a little bit, so the modern can also hold her dress down. Because this is a very edgy pose. A chair is always a great prop and doesn't always have to be used in the traditional way, so the moderate can sit on it the wrong way around, which is especially nice form order to carry a little bit more weight around the belly as a kind of Hyatt's parts. In this case, it can look flattering to shoot the modern, even from above, because then it makes the body looks lemma, have them lower the chin and look up to you so that the white under the pupil looks like a can new because this is the great beauty. Look for any model and another tip. A sexy sitting pose is when the more leans forward on the chair with the needs on easel side. So there is room that you can play so hands on the front edge to push us have up. At the same time, she can squeeze her breasts together with her arms, which enhances the cleavage. 37. Sitting Poses - The Floor: the same rule applies. Sitting on the chair, you don't want to have, say, flesh squeezed. The model should roll onto one hip and said a straight as possible as a positions are sitting cross legged or sitting sideways, pulling the needs to the body. That kind of looks vulnerable. Person hacks and knees, and it's kind of subtle but very nice movement again. Remember that any body part that is closest to the camera that will look distorted for shortened. So don't that them facing forward was both legs towards the camera because the legs will look bigger. So I only made any sitting position in the way that the phase arms, knees or legs on one plane. And if you are having problems imagining what it means to position one person onto this one plane, imagine there is a window pane. Were all parts again So far, I had arms or legs, depending on the post that the all in against this window. So I always uses example when im posing a group of people who have to lean towards the camera so I don't need to use a very small aperture. So if everybody imagined that the nose has to touch this invisible glass. Then they're all on one level on one plane, and I can shoot kind of like a 5.6 rather than F 11 back to sitting on the floor. If you do the cross. Lex polls have some model in a little bit towards you, so the legs don't appear huge, and her face is like tiny also place or arms in front off a stomach. So even when dealing was various skinny models, there will be bilges where the skin creases so you can use the model its arms to just cover any creases. When you have your model sitting in a way that she has her arms behind her toe propped herself, then be careful that you're not true straight. First off, yeah, it looks always very stiff and awkward when you have any straight parts off the body. Remember, if it bends, you should bend it. It also pushes the upper arm flesh out as the muscles flex on the knees, so arms looks in a lot bigger this way. Sometimes you can really avoid it, especially if they're too weak to actually bend the arms. Yeah, it's difficult to support yourself if your arms are bent and then it's also an uncomfortable location. So if there are mus trade and it looks big in the image, sometimes I just fix it with photo shop. So I used liquefied toe to just push the skin in, and then it just looks immediately slimmer and more like the real harm off this person. Otherwise, all as a roots you've learned so far, they apply also to the sitting position, so you want to create shape with their body. So if possibly create space between the legs and space between arms and body and be careful when you're turning the head to the side. Don't let the nose cut the cheek and be mindful that there isn't too much creepy high white visible as the standing. The model can play with their hair, which communicating with her and you will see them all different expressions. The sitting positions I can awry between former poses was Alexe to the side and the knees. I closed the back of straight hands, folded in the left or fashion poses with legs apart. One year down and you're shooting at an anger and many more warning. Be careful where you're moderate sits down so she doesn't injure herself. Railroad tracks are not only dangerous, but they actually are prohibited. So the mother that you see here was sitting on tracks off a Children's train. That wasn't a news, so always make sure that your model is safe. 38. Lying Down: lying down. Poses are mostly great for Children but can sometimes work for adults, too, especially when shot from above or in boudoir photography. When your model lies on her back, it's important that the lower bag of ached otherwise it will look plum and the face will sing into the floor or into the bed. You don't want that decline becomes too comfortable while being in the sitting or lying position. The body has to be very tense to look slim and very sexy. At the same time, it has to look relaxed, as if the client would just naturally look that good. Now this sounds super complicated, but it's actually achieved easily. When you tell your model to take a big breast and two sacks a belly and just be careful, that's the shoulders. They relax and don't lift up. So big press and then it looks much better. So and I suppose I see a lot, and that really makes me cringe. The model is on her belly, and it's this kind off. We're so body, so you only see her head's up to here and she's lying and you wondering where the rest of her body So if the model is posed, fronted with selects down, they are invisible to the camera and to the viewer. So this looks like the model only has upper body, and the lower body just doesn't exist. The other thing I can't stand. Why does the model have bunny ears? So if the model is posed front with the legs up and crossed, it looks like bunny years behind her head. So the leg the legs appear to grow out off some moderates head and these polls is they're very popular with couples and families on the floor. But personally, I'm not a huge fan off these poses unless your subject is 12 years or under. But some clients I really like it so you can do it. Just don't do it in the bad way, but just do it in a better way. And for this you will just turn your model or, if it's a family sideways, a little so no more legs visible behind the head. This way, it doesn't appear as if they don't have a lower body when the legs are on the floor, and they also don't think out off the head and crossing them in the air. - So another note when you place a woman was big passed on her belly. Be careful that it doesn't look weird when gravity gets old, meaning women was big breasts. They might look really awkward on the belly when the breasts fall under the floor and look squeezed, so opposed, the woman was full of breath standing or sitting in a way that the breast look more supported. 39. The Hush Puppy Effect: the hash poppy, a very popular boudoir, poses where the model lies on her back and the photographer shoots from above. This means the photographer stands on the side, where her head is on the bed on the floor and shoots down, emphasizing the likes of hair on the forehead, eyes and then the cleavage. So this is a really great polls, especially for larger woman, because it will look very attractive as the body kinda fades into the distance and are. The focus is on the beautiful hair and eyes in this position that can also after the bag and that stretches out most badges on the belly. It also enhances cleavage, and that's typically shot with this narrow taps or feared so the focus, like a sad person on the eyes or lashes, and then it drops off so their body is less visible. The mistake I see often is what I call it, the hash poppy effect, because everything is fine. Then the model looks down only slightly to the photographer. But if the photographer says, look at me, most likely is a model will only like overstretched her eyes, and you will try to look at the photographer, but this creates a lot of wrinkles in her forehead. And whenever I see that image, it just reminds me off a hash poppy because those kind off overstretching just krampus absolute forehead. And obviously that does not look that good. So easy. I have a look down, or if nothing can really work in this pose and you want that she looks at you, then you might have to fix a flight and Photoshopped that you just saw from those rink. It's in post production. 40. Assignment 4: All right, So now it's your turn. Tell me what you think about these pictures. The good and the bad experiments take a chair and sit down in three different ways. That would be flattering for a model. Make a checklist about things to avoid when having a model outlined sitting down. 41. How To Pose Men: while a woman wants to be pretty and glamorous, a guy wants to look handsome and cool. Also, a man also doesn't want to look fat in this pictures. I am not so worried about making him slimmer. I think more about making him appear more muscle. So I often turn women more sideways to the camera. But men can be posed more like front rather than sideways. So remember the rules. If you want to emphasize something, push it towards the camera. If you want to de emphasize, push it away. So while a woman a small shaped like an hourglass like breast and hips and looks great animated in some kind off esque off most guys that look more like a V so there Lex, a slim in the upper body, is white and masculine toe. Emphasize this. The model should lean. The upper body is slightly forward when standing or sitting, and this Sikh off is considered a more masculine post. At it looks more natural for men to live in our onto something like a chair, for example, so don't have a guy standing with legs close together. It looks unbalanced. If he would fall over like any time so direct him in, the more relaxed and as it would look as he's standing at a bar So it looks and fears tens when the weight is equally on both legs and even more so when the legs are really close together. Toe. Have him shift weight onto the back foot or the front foot. It can also look good if one foot crosses over. The azar was just a soul visible, so in sitting position you don't have toe. You can really have him crosses legs over the knee because that just looks feminine. So instead, they can just prop one ankle up onto the other knee while a woman should have. It's much space as possible between her arms and her body. Male models should only have a slight gap, so the upper body is supposed to look big and defined. So instead of bringing the elbows our to the side, the able should point with the war behind them. So the arms should be also slightly tenants so that muscles look toned yet effortless. It's supposed to look like, yeah, I'm always so defined. No, Victoria, rather than look at me, I'm striking a pose. So if you're shooting a male fitness model, he can do push ups beforehand to yeah, look even more tones. 42. Men's Hands: So what about hands? Same rule applies to women. Don't have some rest. There are onto something with the things hanging down because bunch off bananas perhaps make a fledged fist. No hands in pockets with some out because that looks like the summons disconnected. If you're shooting a groom, make visible that cafs are visible. Another blaze suit or jacket. When you're kind of sitting, be careful how you place the hands. They shouldn't be too close to the groin area. And so not pointing towards it when the hands like placed in the lab a great way to place hands. Understanding is that you can have two hands on the back pockets that can be in bed or on the bed that can be on the jacket collar or holding the jacket. They can also just have hand maybe on sunglasses, on head or as a fashion accessories. So you should always try to bring the body into this kind of sea craft. So the food the foot can rest like on this kind of steps toward, and the client can lean a little bit for what onto the knee off. The hands can be just crossed on the knee just can be crossed so long brings their hands to the face because this looks very feminine and that's have some pretend to close the CAFS checks watch. 43. How To Position The Head: the head position, so updating the head to the lower shoulder is considered a more masculine look. But don't it? They had too much. You don't want that. You model looked like Frankenstein. You also want to direct the chicken or Turkish in as a strong draw line is crucial. For Mary moderates, it looks more toned and dynamic. The next thing is the face. So, depending on the lucky one to achieve the model cans lightly, you pinch their eyes or they can have small smiles or big laughs. So when photographing men, I'm not us worried. When some expressions create rink, it's because I think it can make a man more charismatic. The next thing would be how do you deal with the shiny forehead or shiny faces? Because women off course they can use make up or compact powder so they don't really have to worry too much about Chinese skin. But what can man do to look less shiny so they can go toe? Or you can go to Target or any drug store that says, like facial cleaning products, because in this area you will find packages off oil absorbing sheets and yeah, this works really well, if you want to make Suszkin less shiny without using any powder so you can hand your mother two or three off those sheets and just have some wipe their face under the oil is gone. So depending on how nervous they are or how warms the environment. So how many lights you're using? You can repeat the strick every 15 to 30 minutes. 44. Dealing With Baldness: boy witness and years. So what else do you might use a headlight for a woman to separate the hair from the background? Don't use a hair light or a backlight on guys with little or no hair. It we're just emphasized effect and most guys a really conscious about it. So the more shadows a fuller it looks, especially on guys with dark hair. Yes, should also be in shadow, because when you let them than they can appear red and it just doesn't look good. I think in general lighting, it's much more forgiving for men, so short lighting off course. It works great for anybody, especially for someone with the chubby face. But you can also like Mary models with abroad or split lighting set up. You can very less really about the softness off the light. So when you light a woman with a soft box, then the closer the light is the more softer the light and the more flattering. However, when you like a guy, you can also move the light a bit further away to create harsher light. Or you can even even use like dramatic strip lights, especially if you're lighting like a fitness model, and you can also use more reflective flight modifiers. As I sing, A men really benefits from more dramatic and edgy lighting. Well, as long if your client isn't a bank account and looking for a head shot because then shadows and the mysterious look that would send the wrong vibe forces open and honest Banker. Hopefully so brought lighting and short lighting is only possible when the head of slightly turned away or into the light. If the main lead comes from one side and the subject, look straight with the camera. It's considered split lighting because you have light here and cheddar here. So it split in some dramas where the woman was supposed to look strong, not necessarily like masculine, but like she owns the room. And if her feature allows it, then this broad lighting on street lighting, then that can work, too. If you think about the fifties and this Hollywood style, where everything was very broad lit 45. Sitting On Or Against A Wall: So what about sitting positions? So when a guy's sits on a chair, happen sits at the edge, and he should not lean back because he's not watching TV. So if he leans back, then you emphasizes legs. But we said that we want to emphasize his chest. So for this, he has to lean forward. Also, his leg should be a path, but not like equally. Even in this position, that should look a little bit asymmetrical. So, for example, you could have one leg point out the front, meaning that he can see his foot. And you can bring the as a lek back in where you kind of just bends the knee and you just brings a foot back. Also, don't spread the legs two wires because again, you don't really want to shoot into the guy's groin Easa. So have him hanging a little bit forward, and he can just fold his hands in his lab, and this way you cover the groin. Alternatively, you can also bring the legs more to society. Or you can also just turn the chair around, because this way he's covered and he can lean over the back off the champ. So guys here really good in the strategy position as opposed, just looks. We are really natural and more relaxed. Just make sure that the chair isn't to buy it, because not every man is flexible in this area and you don't want them to be uncomfortable . And as a great singers, a wall. So a wall is always a great prop for a guy to lean against. But make sure off two things. So places behind against the wall, not his head. You don't want to make him look like a pancake. And again you want to emphasize this chest so many has is behind against it. Then he has to lean a little bit forward. Also, if it's a groom that wears a white shirt and the black jacket, now is the time to close the jacket because if you're shooting him straight on, its belly is very visible. And, as we said before, the viewers eyes oneness to the brightest part off the picture. In this case, it's a shirt, so even if he's like Super Slim, this is not really the area you want to focus on. So if you put the jacket closed, the area sudden, and the viewer can concentrate again on his upper body and face. Unless maybe if he's a six pack model, then direct the light onto the six pack because that's where the viewer wants to focus on. So there is a really cool inspiration on YouTube regarding a male model, and I thought it's funds over also posters into the cost materials. 46. Assignment 5: Tell me what you think about these pictures. So good. Sabet experiment. If you are a male photographer, think about three poses. You would like to be photographed and to look really cool. If you are female photographer, Now is the time to drop your feminine side and toe. Hang like a dude. Think about three hand positions that are different for a guy and a good 47. Couples - Intro: How does that posing a cap it? So I posed the guy first. So I have from stand with his feet slightly apart and the weight is shifted. Then the knee slightly bent. Then I moved the woman really close to him. And I want to have her in the standards position where her waiters on her back leg, the front leg has this point to tow the near spend, then slipped back. The hips are back. And then the back of straight, maybe was slightly AJ lower back. So I tried to create a much shape, and her body as possible was out that it looks like a natural. So now you can rocks real flow off poses. She can have her hand on his chest. He can dip her backwards. She can be put closer or than he canyon. And for a kiss. Or he can whisper something into her. Yeah, kisser onto the forehead. Kiss on the cheek, Then, like a close and braves arm in arm or holding hands. You can develop many posers from this basic one without changing their bodies. All location Too much. What do you do when both people are overweight? So women off more critical about the bodies. So I take more care that the woman looks limb. Guys want to look handsome to off course. That's why I oppose them as well. But they normally don't have too many body issues. So if a guy looks a little bigger than that's kind of considered this prosperity belly what the woman is just considered big in a society that it's used to looking at models that are size zero. So that's why I make sure that the woman looks a bit slimmer, and it also fits nicely to the traditional capper. Shoot, because you want that the man looks big and protective and that the woman looks smaller and more petite, so a big thing and photographing a couple once more house, they placed their hands so imposing capital. Be careful that the hand off the one person doesn't creep onto the shoulder or hip off the other person because the fingers they can look this embodied. Also, you want to create a small waves towards a woman, and when the guy arrests his hand on it, then the ways automatically looks a lot fuller. So the most flattering poses when the guy is slightly more frontally to the camera, and then the woman has turned into him, and then she can have her hand on his chest. But it should be like, really gentle, not so much that it looks like she's pushing him away. So this is the most flattering position for any woman who wants to look slimmer as the body of the man. She it's her half off the body, so make sure when you turn the capital into each other that the arms are not straight when holding hands, because that creates a distance to the viewer like a visual block and separates her upper and lower body. So have the are more relaxed and curved instead off this 90 degree anger. And remember once more. If it can be bend, then bended, especially when photographing a capital, it should look graceful and romantic and flowing and yet completely natural. I contact. So when you have a couple facing each other, don't tell them to look into each other's eyes because it looks really unnatural, and nobody does that. It's just awkward to stay into somebody's eyes unless you as Steve Martin, because many years ago I watched the movie Baby Mama, and then this firm. Steve Martin Rewards is employees Tina Fey with two minutes off uninterrupted eye contact and the stair cracks me up. Because if you don't believe how uncomfortable this is, try it and stare into somebody's eyes without laughing. So a more natural approach of Sotelo copper that one person looks at the other person's lip or forehead. So an approach for some authentic expressions is for one person to kiss their partners forehead or to say something into his or her ear. So, I normally say, whisper something naughty in her year and when she's that's laughing when I say Oh, no, not that naughty, so often the love even more which is beautiful to capture. 48. Positioning The Bodies: So let's talk about different body positions. So it also looks slim when the woman stands behind the men and has the cheek rested against the shorter so her arms can hack his arms. The post that has to be done with the most care. It's where the woman is in front, off the men, and he is fighting her from behind. Not only is the woman now closest to the camera, which makes a bigger but the post can also look slightly awkward if their press too closely together. So I call it the back toe post because it just looks too intimate when he is pushing against her. But so it's better to have the woman sideways on enter upper body resting against his chest , creating a little gap between them. So another thing to avoid in this position is having him throwing his arms around her, because when it's too close to a neck, it looks like he's wrestling her. So when photographing a couple, make sure that you achieved the right amount off intimacy. Sometimes I should be a little bit off a gap, so especially when they're kissing so that their lips don't matter together, So it should be just this little bit off gaps that you kind of get the idea they about to kiss, but that they don't actually just Yeah, look like them hating together. So don't have too much space between between them Easa because otherwise they look more like brother and sister. So if they are young and dynamic, that can be goofing around, You can swing her around or he can maybe give a piggy bag or the other way around. But at the same time, she should look at him in the stream your way. Otherwise it just looks to platonic. And if you do this lightly overused here, kick meaning he hacks her and she kicks a here back. Be careful. That elect doesn't kick up into a 90 degree anger because this looks really unnatural. Plus it X. It also exposes the bottom off a shoe. And sometimes people forget to take the label off the sticker, and then you can see right onto the bottom off her shoe. So once more, if we're talking about a couple and kissing, you just have to remember you always want a little bit off space in between them when they're kissing because, yeah, when the lips are just so squashed together, it just doesn't look very flattering. So it's better to photograph the moment that's leading to this case just before the lips are touching. If you're shooting a cap, who faces each other and you're shooting slightly from above, make sure that the nose doesn't kept the cheek. Lighten once more because I see this a lot. So it's especially in wedding photography when the guys behind the bright and then it's this kind of romantic feelings that the brightest looking down. But at the same time, the nose cuts the cheek. And I just think it's so unflattering and obviously, even if it's a nice enough image that it's romantic, nobody wants to have a huge nose. So be careful that when you position them in this way, that it's either like a complete profile or that she's just angered in a way that she can still look down was out that the nose of cutting the cheek the next thing as a walking poses. So when I lied like mock up reading workshops, meaning that a guy and the girls are just in the wedding attire. I often see photographers doing this walking poles, and it's funny to watch because the photographer says something like, Okay, now walk towards me. And as a bridegroom the just work at the normal speed. The photographer maybe gets two or three shots before the couple is just too close. So either he has to work backwards without looking, which often ends in disasters. All of the captain has to walk back and do it again, and then they have to repeat this exercise just to get a couple more shots. So as you can imagine, this is very time consuming and also very impractical. So it's also very difficult to capture a normal poise when somebody walks toward you, because it's a normal pace that can just look on flattering. It's kind of like if you're photographing somebody who's eating, it's too easy to capture an unflattering moments. So how do you get better poses rather than just walking? So that's easy. You just basically tell them to stay in the move. Either toe work really slowly, or you can also just have them to shift the way it back and forth. That's kind off like this walking position was I end, but at the same time, you, they if they're just rocking back and forth, it still looks kind of like they're walking. However, at the same time, because they're not actually doing the walk and you're not too far aways. And from them you can still post them in the way that you say Okay, now just loses rocking back and forth or just walk super slow and then just do different things, like you can whisper something into her ear off. You guys look both over there or are they could look like goes into the distance or at each other and smiling and laughing. And this way you just get a lot more, Yeah, variety in a short time frame because otherwise, if they just have to repeat this, that they go towards you and you get two shots and they have to go all the way back, then just now that just takes a very long time. 49. Common Couple Problems: So let's talk about different heights off men and women. So first off, like tired men and short women. So the same basic polls like the waiters on her back legs. She's pointing toll. The slight she sliding leg and needed spends hip is back, but the bright shouldn't mean then too much forward. Otherwise, she would appear that even yeah, even shorter. So the man, on the other hand, he has to drop in hide, and he doesn't by having has one foot apart from the other and like lunch. So this way, his leg. It's kind of over that. But as the groom is normally wearing black, it's not really noticeable from the front. So obviously don't shoot him now from the side ASUs looks, and we have many in this lunch position. However, yeah, if you're just shooting from the front and it's not visible at all, and from this position can also be a little bit forward to turn his head to watch. Now boss heads on some 11 and can be together. Temple Temple, I travel to flee is the groom can also sit down, and then the bright can stand up and just hack him from behind. Or you can elevate the right by having her maybe on the sidewalk. So if the guy is strong enough, he could also just lift bridle bits. Well, how can you do with men? That's the opposite way around. So if you have a tired woman and like a short man so personally a like it when the guy looks at least s hall as a woman. So especially when the bride wears the traditional white wedding dress, I would like to oppose them also. Traditionally, I don't mean that in a way, like a damsel in the stress kind of way as saying Women are strong and family stick these days. But yeah, it can can just look a little bit weird when you have some spare, irritated reading dress and you want to look like a princess. And then the guy should Awesome should look like a prince. Hence he should be the tallest and bright. So again you can start with the Basic post. But this time, even Bright has to step a little bit away with one foot. If she's really, really taught well, otherwise she can reduce height by pushing her hip even first back and leaning forward. So that's where she drops quite a bit in heights. So attentively and s, I said before, she could no also sit down and he could stand up behind her something like set. So if you can do any off this, then you can also shoot them with the snatched it, meaning that utility camera, in a way, to makes a smaller person a little bit tighter but practices beforehand so you don't make the toilet person even talk about accidents. And don't overuse is effect. You don't want that all of your images opportunity, the next challenge you might have us. How do you oppose same sex partners? So when you're shooting same sex couples, then the same would apply to any other capital. So instead of thinking men and woman in this case, I would look for the person that is maybe a bit more dominant and treat this person as a masculine one. This is my tell mean, but it's not anything like that. So normally, then in any kind off couple situation, this one person that this is a tall on traditionally that masculine partner. But it's not my fault that society thinks like that because when I was younger, I always had to run the male performance in our dance group because I was the tireless there and there were no voice. So today I can still only do the dance moves as the guy so I can really dance with anybody , anybody. So that's just how it waas. So if both partners as same Hyatt and obviously that a bit more of a problem, then I'm looking for the person who talks initiative to propose or, I asked them will ask you for the first date. And then I would say this is traditionally masculine role. I would try to figure out who was going and gives that person the past. The reason why I also hope in the same sex capitals a stronger path. It's not because I consider the other person as weak or vulnerable. It's just that I think that's normally one person that's a little bit tougher than the other and just consider more interesting and storytelling, and much so the same sex couples. You don't want to run into the issue. That's a look like siblings or friends. You want to show the intimacy and most off the time is this one person that took the initiative and was brave enough to take this first step like like a head, like asking the other person out or leaning in for the first kiss. And these are the stories you want to 10 in any capital. It doesn't matter if it's straight or gay, so he's away. Make it look, really when I'm mating two people instead off one, it can be even more obvious that they are opposed. And often I see images where the Bryant Ux beauty for the animated like foot out his band Great Cough been the veil in my hand or address and the beautiful expression why the groom has since an opportunity on herself and just doesn't look like he wants to be there. Also kindof yeah, just doesn't really work when one person looks amazing and the other person just looks like I don't want to even be here. So this room's would end much is that the bulls look happy, are serious, but when one has very nice deposed and the other just isn't then the animated one also looks fake, so you should always create the same mood for both partners. You might also have to take more images, as was two people. That's awesome. What chance? That one off there I lost. So I won't stop like 1000 images off Capital and kept 50 because they would take turns and blinking. So this is obviously an extreme example, but I just want to say it can happen. So it was two people. You might have to take even more images and another note. If you're posing two friends, then make sure that the French of this visibility is a viewer. I was recently attending a workshop one Offs. Photographers was posing these two best years like two friends, and she directed these teenage girls like this like touch the foreheads together. You really clotheshorse hands, look at each other. And I thought, this is really wrong by because friends or siblings should never look dreaming. We at each other. There should be a slight distance between them. Not as much as I don't really like each other, but it shouldn't be as close that they could be considered intimate. So if you ever watched dirty dancing, then you probably know this court this is my space and those of your than space. And I don't go into yours and you don't go into mine. And the same court can be applied also to you as a photographer. So directing modern or clients, you also don't want to be so close to them that you are in their space because they don't want to feel intimate with you. So please takes us to have, especially when you're not aware off this idea off personal space. So always keep your distance. And the same applies to people when you're groups and together who don't have intimate affair. So he has some ideas, so oppose friends or siblings, like sure lessons to shoulder or back to back next to each other and just leave a gap. They can hack each as they can hack the arm and have a look at you into one direction. So if they look at each other, that's a laugh or move around this way they look less like a serious capital and more like fun friends or brother or sister 50. To Fix or Destroy: should you fix it or destroy it? So sometimes you can give cap it some direction and they just get supposed immediately. Some paper there just look gorgeous and gracious by nature, and some couples can pull off any look like cozy, intimate and beautiful all at the same time. And this is awesome. So let's unjust does this thing and only movinto fix little things like hands on Faizo are any kind off small position. But it was as a cap. It's not. I poses work, so if one partner looks totally awkward, you just can't fix it. And you need to destroy the pose and just build it from scratch. Maybe you have to do something completely different, like turning them around on, have so bright sit down. And from my own experience, I can also tell you that the carrying over the special pause is a difficult one. And I mean this literally like my own experience, me being the bright. So I waas quiet slim back then and my husband strong, so that wasn't really the issue, but I wasn't into professional photography back then. Otherwise I might have known something so off course my body and my big wedding gown. I was in the front off my husband, so he's hardly visible, which means he's like this floating head. And my body, on the other hand, was totally visible. And my booty is the closest, and by no, yeah, you know, know that means likes biggest right? So it was, like close to the camera. And my head is like tilted bag due to like lying on my husband's arms. So I looked like a big pancake, and I wish somebody would have told me this and destroy its A supposed. But luckily we took some more images. Otherwise I would have ended Abbas a very unflattering wedding picture. I hope by now you have enough knowledge. Not only pose a couple, but look, maybe more flattering in your own images. Maybe it will be for good use next time. If you're on vacation by yourself or with your partner 51. Assignment 7: So tell me what you think about these pictures that good and the bad experiments practice the walking poles. Make a checklist with three things to avoid when posing capitals at your next session, post your couple in three different ways like a boyfriend and girlfriends s platonic friends and his brother and sister. Look at the different body language is and positions and decide what works and what doesn't think about poses that work for a young and dynamic capital versus an elderly couple. 52. Dealing With Weight - Tips & Tricks: while in real life I think big is beautiful in pictures. Nobody wants to look big. So even Skinnygirl they want to look skinnier. So how can you post somebody was a little bit more curvy or a little bit bigger. Turning sideways or not sideways. So first of all, it depends how big the person is. So if the model is only the chubby, then everything you learnt so far that still applies. So you turn the body but away from the camera you have the weight on the back leg than the front, like a spend. Then you just kick the hips a little bit back and then you want to create a gap between arms and body. So I know my now you would know the drill. So if somebody is just a little bit Chappy, then you can just do the same thing. But if somebody is obese, then forget what I just said. Do not turn them to the side, have them face the camera. So if you're wondering why, then you just think about how you would pose a pregnant woman to show off a belly. So if you turn her toe the site because the camera has this issue, seeing it dimensionally. Then if she's society, then you will see the cute belly. And if you think now office obese woman She does not want to show off a belly. So the same rule applies with men and beer Belief. Don't have some turns hide ways. It's just getting the three dimensional look for the camera. It's not flattering. The next thing is what I cause. A pancake phase. If somebody has a big phase, just cover. It was hair. If your model has really white faith and longer share than just don't pull it up instead off heavy, just floating around her face. Or she can even gently push more hair into her face with her hands. And this way it just looks a little bit more flattering. Also have her face a little bit turned away, and this usually is the chicken tions with the chin forward and down, or if she has double chins and a little bit up. So why do you even care about making a big person? Looks lemma? I was recently asked why I care about that, because when the person said that, surely if somebody is big. They would know about about that, and that shouldn't be surprised that they look big in a photograph. So I'm not a psychologist, so I can't really talk about what is going on in people's mind when they like overweight. But I can tell you from my own experience. So even if people know their weights and then no, they are a little bit bigger. If they see themselves in the photo, they're shocked. And the reason is that when they style themselves in the Murrow or the walk by in the shop window, instinctively they turned themselves in a way that just looks lemma. So if somebody doesn't animate them, or even worse, that's the wrong animation. Then all of a sudden they see the real body size, which might be, isn't even exaggerated through the wrong post. And this way they will never like the images and certainly not by them. Plus, they will feel horrible, and I would never want that for any client or model 53. Slimming the Body: So how about hiding paths off the body? This might sound very mean, but it helps when you can hide larger pats off the body. So if you're shooting a bigger Bryant than her bouquet can hide her belly or her very can cover her arm. If the woman is not a bright but you're shooting like a regular portray, then Heffer covering her arms was like a fitted jacket. So if you're shooting cap, it's half the woman again turned towards the partner, and then the men can cover half of her body, and that's where she will look slimmer. Also in the sideways M Braves the arms off the man should be on top off the arms off the woman. If you do it the other way around, you will a emphasize her arms as their closest to the camera and be her flesh that will just be squeezed down onto the arm off the men. And that looks even bigger. So if the arms off the men appear bigger, I don't think it's a smart off a problem because in general, men's Armagh, commonly bigger, especially if they're working out. And if you're shooting a family, then you could position the mom in the way that she sits between her Children. So again, then her body is just less visible. If you're shooting more people than one, the slimmer people should be in the front, and the bigger people should be in the back. Remember that anything closer to the camera looks bigger. Why things further away are more compressed and slimmer. The next thing is posing on one plane. So if you're shooting a group of people tells them to pretend to press and noses onto this invisible windowpane. This way, all the eyes are on one plane, and depending on the Apertura, you're shooting at this. Bigger groups you should really use anything was at least f AIDS. So all the eyes will be then in focus and not blood, because they're all on this steps off feared. The advantage side effect is that the bigger people in the bag have to lean in a little bit , so this again pushes their hips back and makes them appears. Lemma and another note, when imposing a group of people, make sure their eyes all at different heights, avoid stacking people on top of each other where they look like heads on the totem pole and that I should also not be in any kind off line, vertical or horizontal in the If the people are different and high it, then it's not really so problematic. But it looks better if you have arrived. People like standing and leaning in and sitting. So this way the heads creates its nice overall diamond shape, like a triangle shape. 54. Shooting Angle & Slimming Tricks: if you bring chairs to a shoot, it's a great hiding block for people who are a bit bigger as they can be placed behind the chair. If you're shooting outside, find a wall or let's mortal peek out from the side if you're shooting in the studios and you can also have some modern sit in backwards facing the chair, um, again, think about the angle at which you are shooting. So shooting from above only do this when you're moderates. Body is a lot bigger than her face. This way, the body gets compressed. What's her face looks normal in size. If your client has a really big face and you shoot from above, then the face were appear even larger, shooting from below. So only do this when your model rocks awesome legs. Otherwise, they will also appear to speak up how to make the judgment call. So what happens when the person you photograph has a big body and the big face? Should you shoot now from above and risk that the face looks even bigger or slightly from below? So that's the face look smaller. But then the body might look bigger, so sadly, that's the seesaw effect. Sometimes you have a problem and you find a solution. But the solution might create in itself the next problem. And this is often the case when you shoot people who are not perfect, which means probably most off the time you can fix always a problem. So you have to try to find oppose. That works just better than the rest, and then you just roll with this one. So in these examples here, I would shoot both ways, and I would also shoot straight up, trying every anger possible until I find one way that looks just better than the rest. So it might not be in award winning image, but one that will make this client just look their best. And you will also hear from a lot of plans that they were book you to take images when they have lost weight. However sadly, that most likely really mean they never book you with this attitude, so it sounds offer, but it's more likely that we put on weight as we're getting older. So I thought maybe don't fit anymore and my genes from high school. So did I consider myself slim in high school? No, even back then I went to the gym toe to lose weight. So you have to tell your client that the weight really doesn't matter. I mean, sure, for health reason if they would like to lose weight and they should. But their portrait will be beautiful in any case, and not only their family deserves to have beautiful images off them, but so do they. And who knows? Great photographs might even motivates them even further to work on their bodies. So don't let your moral or Klein's get away with such a lame excuse. Everybody deserves great images off themselves to look back on one day. 55. Assignment 7: describe why this in Mitchells, a great polls that flatters any body size. Think about props that would be great to hide a modest midsection without being too obvious . So in TV serials seduces a lot to cover an actress near pregnancy when it can be written into the story. So if you can think of any props heaven look on the Internet and Google props to hide pregnancies in TV serials. 56. Lighting, Contrast & Color: it's really difficult to speak about posing and not to speak about lighting. So if you don't know anything about that subject, then definitely get online tutorial or buy a book about it and practice. Practice, practice and you ask why? Because if you want to make your subject truly look slimmer, you need to understand how to work with shadows instead off light. So how can you light now? Bigger people, I say. Always, always, always use short lighting, because this way that she closest to the camera lies in shadow and looks lemma. If you're shooting outside, you can also find a wall or a tree that provide shadow so that you can create a similar effect. Because flat lights yeah, off led lighting. That means head lighting. So the flatters ally it meaning less light, erection and left shadow. The more flesh a slit and therefore the body and the face looks just so much fuller. And on the chest, you especially want to create this three dimensional look because big breasts they will appear even larger. Why, it's more breast will appear even smaller ones I lit, So how can you create this three dimensional bust Soto achieve this dimensional lighting that gives shape to the bus. You have to turn the model away from the lights waas and then have a look back towards it. So let's say from the photography perspective that your light us on the left. So then you would turn the model also like to the left and then turned her face to the right because this way you still get her a nice chocolate side in the face looks like right to the light. But in a way that it's short. Let's with shadow here and it's Lydia. Why is the light travels only over her chest? And that gives us this yes reader mentioner shape without enlarging? In this way, it's just more flattering. So let's talk once more about over exposing the face. So one exception to the rule. Our beauty shots, which are normally done without any shadows on the face as you really want to show off the makeup. But I also find that sometimes old, a woman with a lot off wrinkles or dark circles, another I. They can also benefit from a slightly over exposed image as it fits in these blemishes, and it doesn't have to be a beauty dish, as this is a very harsh life. You can also use the soft box was a little bit more light output. So again, it depends up on you If you want to create us, yeah, like a slim shape with shadow versus a great skin where you would need more light. The too much contrast issued also think about the viewer and how he looks at the image and how the eyes traveled through it. So normally it's from dark to light and from blurry to chop and then from left to right. So the first thing you can do is that you have the viewer stop at the biggest path off the body, so this means don't have a big person in a white T shirt standing in front of a dark background. The viewer will look from the actual light. And when the shot is lighter than the person skin color, the viewers I would stop at the body, which is in the biggest part off the person now, you might say, Yeah, I wouldn't have put a big person into a white shirt anyway. Everybody knows that lacks limbs, so I advise my motor toe were black. So yeah, in Serie, that's true. But don't place a person with black closes onto a white background visa you like, but why not? You just said the viewer's eye looks from Dr White so they would look onto the person's face or background. Yes, in Series A woods, but in this case the contrast is just too extreme. So if you have a clean white background, a tiny face and big black dress body, then it looks like a big dark glop, and it's just distracting. So in this case, it's better to use Bish's or like a mid grey background. If you need to show the whole body When the model is wearing black in the head shot, you'll get away with a high key background, if not too much. Black wardrobe is visible, so always advise your client toe were similar callus to the backdrop. They would like to be photographed on. So as a simple rule, you always want to have similar water colors to your background, meaning light colors on the light background and that callus for a dark background. The idea is here that you always stops with his eyes on the face off your subject when traveling through the image. So with the chappie modern, it also helps to advise you are closing choices that are not too colorful or not too distracting, so you don't want a red sure jumping off off the page teaser. And that would just draw all the attention toe their size. So if you want to play with colors, then Raza used accessories such as colorful scaf's or heads or shoes and jewelry. Because this brings color to the images without accentuating their weight. Avoid the floating hat. So if you follow this rule and place a doctor s person on a dark background, be careful that you lie. It's a model to separate her from the background. The dark closes. They can be invisible as a wise, and your model will look like she has just a floating head when only the brightest path stands out. And that's a quick side note. Think about Kala casts. So another thing to consider when shooting outside and thinking about your lighting is what kind off color cast could potentially interfere with the image you're trying to achieve. So if you're shooting in the forest, for example, Always pause your modern at the first tree. The further you move your subject into the trees are into this forest, the more you're risking this ugly green color caste. So once I shot a wedding couple and their reception was really close to a forest, and I thought, Our who gives them images that are dramatic and mystic like grim story off Hansel and Gretel. But no, all I achieved was this green color cast on the brights wedding gown, which took me forever to fix in photo shop. Plus, I had to fight with all the deputy light that wasan just shining through the leaves. Better would be if you move your subject into the shadow off the first tree and then ensure that you work with the clean and open shadow. So if you're shooting on a sunny day, you want to zoom into your model as otherwise you have just a lot off bright grass spots behind your subject, and that could also ruin the image. The same thing occurs when you're shooting your model close to a colorful background, or if she's holding a colorful umbrella, make sure that these casts. That's a look attractive and not distracting because some yes, sometimes it's also the same with college. It's some customer really likes a funky effect and, as I say, just hated when it hits the skin. So just be careful that the color that you achieve in your pictures that it looks like it should be there and also that your client likes it. 57. Lighting Diagrams: so along the right lighting technique toe flatter your subject. So in the cost materials, you will find lighting diagrams to help you decide which technique you use with which subject to make life easier. I recommend using a light meter when setting up your lights so you don't have to guess your shutter speed and aperture. There are many tutorials on YouTube on how to use the light Mita. So if you never work with one, check it out. 58. Assignment 8: so I have a look at these images. Can you tell me which lighting was used? Fled lighting, short lighting, broad lighting are split lighting. Experiment with your own lights, even if you have just a torch. See how is the subject is lit and how the shadows are created. Make a checklist off things that can go wrong with the lighting set up at your next session . Try split lighting, broad lighting and narrow or short lighting. Buy or look into a fashion magazine. And can you identify the lighting set ups? And do you think they fit to the subject? Set up a high key and the low key background which look do you prefer and why? 59. Body Language: when people have body issues, the right directing is even more important. So I have a friend who was a little bit more on the chubby side and on all the images I see over on Facebook, it looks like she has just being tortured. So the lips are smiling. But the eyes are like pressed together, and eyes are just saying, What the hell am I doing? I will hate these images. So for me, this is easy to see because I know her and I also know her body issues. The photographer who took the images probably met her for like 30 minutes, and there was not enough time for like a real connection. So once again, communication is key. So if you tell such clients to relax and to smile, these are just empty words. So in the worst case, it just tends up even more so. Professional moderates have no problem. They just, you know that so used to do you just throw them a bone and they catch it. That's why they're professionals that easy to direct 60. The Devil Is In The Details: So let's talk about biologists so certain poses sometimes create skin creases, even if you're dealing with really slim paper. And yes, they just creates those little badges. And recently I saw an image off a model like an obra and jeans and G was sitting on this kindof higher chair, facing the camera and leaning slightly forward. And the weird thing was that she was super skinny. But even there was a skin. Your skin can afford it over her jeans, and that was just unflattering also would be difficult to fix and photo shop so I wouldn't have it wouldn't have been much often issue if she would have said up straight. So you just tell your client that there's a string that puts him up to the ceiling, or if she maybe had crossed her arms in front off the belly to hide. This little budge was wedding dresses, especially this often times where the skin creases around the armpits when the arm expressed towards the body so easily create more off a gap between arm and body. Or if you missed this on the day, then you might want to soften those creases in photo shop so you can tell also how relaxed the person waas at the shoot by looking at the shoulders. So definitely tell your model to roll them a few times just to loosen up a little bit. And just to loosen. Those has this kind of tension so sure that should be dropped and rode back. So a little tip about native Polish remover? I don't know why, but I often see super style models and clients. But they didn't look after the nails, and the polish is chipped. So have a little bottle off nail polish remover, at least with you at the shoot, or maybe in your studio, and ask them to remove it if possible. Otherwise, you end up with poses where you have to try to hide their hands because fixing nail polish in photo shop. That's just very time consuming. So try to avoid it. Hair can be awesome and awful. Be careful that the position off your models long hair doesn't look like a beard or armpit hair when shooting pro fights. Also try to avoid strands off here in front off your motors eyes because again, this is really tedious to retouch when you're shooting outside. Sometimes the direction off the wind really dictates the shooting direction. So place your model in a way that the wind is blowing her hair back and that it doesn't really interfere with her face, although sometimes it's wired look, that can be interesting as well. On the side north. It might be also both wired to invest in some nice weeks, especially if you don't work with the hair stylist on the day of the shoot. So I have had moderates to run upto workshops with really bad hair days, or some didn't even wash their hair. So always brief your model about washing their hair on the day, or at least the evening before the shoot, because squeezy here said, never looks nice on any and much, and I feel a bit silly about informing a model about personal hygiene. But sadly, it has to be done with some people. And if this doesn't work visa at least a nice like natural looking weak that can really saves the shoot. If your model Klein with then the accessories that can be taken out, ask them to do so. Invisalign is the brand that produces, like here braces. Not as noticeable us really matter. Braces, but potentially. It's distractive and photos, because additional editing might be needed if you're shooting nude or imply it, nude images tell your model toe were lose closes before the shoot. The same applies to clients who don't want to wear their glasses at the shoot, tells them to take them off at least 30 minutes before the shoot, so you don't have to edit out those marks on their noses. I've told you know, many times that a woman looks lemma when the weight of like on her bag leg and that her hips are pushed back. So if you are focusing on the booty, like in Boudreau are like lamb a photography, then you can do the exact opposite as around, and full booty can look very sexy. So have the model phase away from you, for example, and leaning with the upper body like against the wall and then half a pusher behind towards the camera, meaning that the weight off the body is on the leg closest to the camera, and that the as I want to spend be careful that jewelry doesn't get tangled when shooting inclined or model. I want shut the most beautiful her boudoir image, but the Moderates earring was twisted. So luckily, I could replace the earring with Jack, some kind of help and photo shop. Because otherwise this would have been a real sucker when you were hired to shoot advertisements for jewellery and watches. It's even more important that everything is perfect, so be careful how to show a watch. For example, if it's just like a normal watch and it's on the client's arm, then it's kind of upside down for the viewers. Point off you. So if you can, it would be better if you have some modern holds, a watch or kind of looking at it the opposite way around. So that's the watch is clearly visible to the viewer. 61. Assignment 9: so we'll have a look at this image. How do you interpret the capital's body language and which areas off the image are a distraction? Have a look at your own images from your last shoot. Can you identify problems that you could solve next time? And that's the body language fit to the story you try to tell. Think about the pictures on this chapter page like body language. Try telling a little story about the modern or about the inspiration behind the picture. 62. When Your Mind Goes Blank: But now you should have a pretty good idea that posing different parts off the body gives you a great variety off poses. Sometimes the changes only very small, but can drastically improve your images. So in one off my reason workshops, I was asked if I had a cookie cutter pose, and the answer is kind of yes and no, because to achieve a pretty good portray, you should do the following steps that you already know now. So you turn your model to her right side, and then that's the face turns right, which means that the left off the faces more visible. Then you will place the feet in this edge shape so that always a weight is on the back foot and the other leg was appointed. Toe in. This light leg is kind off bends and doesn't have any weight on it. Then, if possible, hands and hips to create this gap between arms and body, then the hands and thing else that they should be always soft and slightly together, incurred and if possible, that the model always drops is a shorter toe, really along it, the neck and obviously a strong jawline is the best. So I say, is the chicken shin. That's probably one off my favorite poses. So this is not also super exciting, granted, but it will be flattering for nearly everybody, So more Cokie Cata advice. It's very difficult to offer without evaluating your model and your shooting style so you will shoot the mom next door differently to an 18 18 year olds swimsuit model, for example. But those steps, they are really good start, and you can just develop it from their own. So the next thing is, what can you do, though, if your mind goes completely blank? First, think alphabet, because this works really well in the more fashion oriented shoot, so you can animate the body into an April's or seek off on I pose on s curve or any other letters that make a cool pose. So how to How do you create so so like what I just shown? So the A pauses, kind off like strong and confidence of the legs are straight and slightly apart, and it's kind of hands on hips, So I called us a Poles. The Seeker off, like I said, is considered a more masculine post which doesn't mean a woman can do it, but it's just more strong and relax. So bring in a little stool and half your model kind of place, foot onto it and lean into the knee with upper body until it creates a C shape. Alternatively, the model can also cross legs to one side. The I oppose. I call it just like young and rebellious because it's kind of flex together, arms down or crossed and it works. Best was really slim models, as you don't need to worry about slimming legs with a gap. The ESC offices very feminine and sexy curve. It's typical and fashion pose to really exaggerated modest curves, and the lower body curves into the opposite direction to the upper body or arms. The second tip I have for you is that you can always think 360 degrees. So if this is to fashion related with A S and I opposes, then you can also create a great variety but sinking in 360 degrees. So if you're shooting outdoors, you can move, definitely see 360 degrees around your model and create all kind off different portrait. It's while you're doing this. You can also lower yourself, or you can climb onto something like a chair to just get different perspectives. And this, this is why is the second shooter on the wedding can sometimes create better images in the main photographer because all of the pressure off posing is on him. Why, it's the second photographer can just roam around freely and look at oil poses from different angers, and they can move further in. Or he can just go a little bit out. So he has just more variety. In a studio environment. You are more limited. Toe the background. You're working one, but you can still have some models and turn 360 degrees for some kind off red carpet style , like over the short glances. Or maybe she has a great accessory that looks really interesting from behind. You can tell your model to pretend to be on like a turntable and to turn slowly around until you say stop. And this way you can capture her or him or both, from all thoughts off. Interesting perspective. The started I have for you. If it zoom in, zoom out, Robert Kappel said. If your pictures are good enough, you aren't close enough and sometimes is as easy as that. Most lines would agree with you is the things that normally sell best as a value for money shots, meaning the subject fits the frame. And if you like to win competitions and sometimes the opposite is true, you want to show more off the whole environment. So these kind of images are mostly for you. The client will likely complain that they are too small in the picture, but for competition such, Yeah, I think such images key because it s so different. I think like wedding pictures, where you have the small couple in this huge flower refine yacht or in Children photography , where you have two small Children sitting and unease a huge tree. So I often see pictures at 1/2 way, which means the photographer shows a little bit off the environment and a little bit off the client. But sometimes you really have to make this board a decision on what you want to show. So let's talk about emotions and storytelling. So another way to bring more ideas to your shoot is if you think about emotions. So think about sad or thoughtful. Serious, angry, happy flotations, joyful, laughing, peaceful or through it. Sometimes I just say things like, Oh, look over there and pretend you see a really sexy guy. Oh, not like you want to eat him, but just that you want to play. And then I'm like, Okay, so now he's your boyfriend. So look super happy. He's such a great guy. Oh, no, He left you. Now you're sad. Oh, no, I'm wrong. You're not said you're angry. So I'm going through the sore conversation off just playing with and nearly like, little role play. And yeah, I think this creates just a wide range off expression and usually declines additionally, does the opposite off what I'm telling them to do So So when I tell them, look super angry than most of the times, I can't hold the expression. They start laughing, which works equally well, So mostly you're doing this to get different positions off their eyes. You want that? They're looking down, looking over to the side, looking over the short shoulder like flotations, expressions and sweet expressions and big laughs. If you're shooting outside one of my tips is find a war because a war can be a great prop. The model can lean with a bag or hip against it, or with the shoulder or her chest, and you can shoot from the front, also from the side. And she can. Dean was one foot up against. Just be careful that the leg isn't like a 90 degrees and it looks cut off all. She could also be sitting against the wall, and normally this creates a really kind of cool and edgy fashion look, especially when the area is this hip and urban environment. 63. Photographical Styles: commercial photography is all about the product, like the outfit or the jewelry, and it's less about the modern. So in recent times, commercial photography has become a little bit more interesting because back in the day it wasn't very flattering for model to record a catalogue girl. So this was considered the most boring form off modeling. The Modern, which stands and presents the closers and maybe hands on hips, are holding the color off a jacket or holding the jacket, and that was pretty much it. So if you look at companies and their product catalogs nowadays, there is a lot more storytelling involved. I think the models are less planned now, and they also kindof allowed to show a little bit more off the personality and in extreme cases, even become the star or the spokesperson off a whole brand. Think Victoria Secrets thes angels like Heidi Klum or Miranda Kerr, Adriana Lima and so on. And also like one off my favorite closing Labour's. It's a Spanish company, Disick, while, and they recently employed Chantelle Winnie to present the new closing line, and Chantelle Winnie. She has a skin condition called vitiligo. I think her skin was originally dark, but it developed us white patches and because off her different look, she gets a lot off work. So companies are becoming border and want to shoot with model or not, this perfect model and blend, but who have this distinctive look in this kind of personality. So if you are ever in need for funky cattle opposes, then definitely check out this equates website. Every puts us into the cost materials because they really have interesting your not only looks but poses and a little bit more edgy and just very different. And there are also other companies who have really interesting catalogs that you might be more familiar with if you're in the US, like Banana Republic or Gap. As a companies like Rife Lauren or guests, they create catalogues that are often photographed outdoors and depending on the lifestyle they want to envision for the customer. Also, like if you look ever at Ralph Lauren, that represents this kindof fun yet posh country club lifestyle while its guests represents yeah, rock chick on motorbike fashion. So I think they're spokesperson Back in the day was Claudia Schiffer for a while and the kind of style toe really interesting as a yeah. Modern, rigid adore like big hair and super sexy girl and jeans. And then you have friends like Abercrombie and Fitch Hollister that attract a younger audience. So they are advertising. It's mostly like a sexy boy or girl on the beach like showings. The summer lifestyle and their brand representation is all about being fit and sexy. So even the sales people in those stores they just look like fashion waters. So if you want to challenge yourself, then pick one off those brands and really analyze their advertising style. And it's interesting to see what kind of concepts that have, if it's do, do you owe versus outdoor the fashion and what it represents, and also the shooting style if it's more natural or edgy and houses impacts opposing off the modern. So editorial photography is not as much about the wardrobe. It's almost likely its high end fashion, but it's more about the story. So if you pick up any fashion magazine like Vogue or Vanity Fair or Cosmopolitan, then normally like located at the end off the magazine, you will find us a few pages that tell the whole fashion story. So you have models in the countryside, on the street, on the beach, like an urban area and all sorts off different poses so they can rain from edgy and funky, too, like a runway fashion. So you might look at these images and say something like, Who would wear that? But that's not really the point. That's not really a part of the point about selling the fashion. Also, sometimes the designers mentioned, like on the Koran offs America's in, but probably the reader couldn't afford it anyway. But it's more about showing off how Edri and Forward singing the Magaziner's. They want to predict the future trends like confession, or they just want that the reader is taking out off their mundane life. Sometimes these editorials that can also be a bit controversial. So more people talk about the mega zin or sometimes a famous motor, is employed for creating a little story on Death's guy called Rankin. He is the famous UK and international photograph for, and he runs a mega zin hunger, and this is a really great way to get inspirational images, so he does a lot of fantastic work for people like Heidi Klum. And once I photographed her in this editorial style in Beverly Hits, where she was wearing these enormous years and she pretended that she was followed by paparazzi in another time, that stater in this Elizabeth Taylor way and pretended that Heidi Klum bosses fifties movie star in the trailer. So you get the idea and editorialists much bigger than just a girl, and pretty close is you have to come up with the whole concept and a few different outfit changes and are these things that finds opposing off the model. So this is not the mom next door portraiture. This is larger than life photography, and your moderate can be a spanky or is different as she wants. So if you want to have a closer look, I will also give you the link for the Rank and magazine called hanger tv. Dot com reports us into the cost materials 64. Glamour Photography: so a NASA interesting style of photography is glamour photography, and I looked into Wikipedia to get a good definition for you. And it says that dilemma. Photography is the genre of photography, in which the subjects who are usually female are portrayed in an erotic or exciting way, which can range from fully close toe note but in ways that is a may consider or may otherwise not, especially draw attention to the subjects breasts and buttocks. So glamour photography has changed a lot during the decades, and until the later half off the 20th century, glamour photography was usually referred toe as erotic photography and early erotic photography was often associated with French post cats. And they were small post cat sized images that were sold by street vendors in France and in the early 19 hundreds. And pinup became really popular, and they were just yeah, Kent off sexy women and often play for opposes and seemingly like surprised or started that reviewed. So the subject would usually have this expression off the light, which seemed to invite the viewer to come and play. So especially during what words were to the pinup pictures off the movie stars were extremely popular among American servicemen. So Betty Grable was one off the most famous pin up models off the time, and her pin up in a bathing suit was extremely popular was World War Two Soldiers. And then, in December 1953 Maryland Monroe was featured in the first issue off the Playboy magazine. So Betty Page wasa Playboy Playmate off some hands in January 1955. And Playboy, probably you are, I know, was like the first magazine that featured nude or erotic photography, which was targeted to the mainstream consumer so famous glamour models. Today I'm more like Pamela Anderson or Katie Price or detail. Fontes and all of thieves have their own kind of style, so Pamela Anderson still gets photographed nude for more often erotic style in Katie Price's this typical English tabloid paper girl in England. These girls are the page three girls because they show bare boobs and detail Fonte's. She is Moses, pinup girl like elegant and sexy poses that require a lot of control and finesse from head to toe. So since the 19 nineties and the error off like supermodels like Cindy Crawford and Claudia Schiffer and endemic first months on the sexy photography has increased in popularity. So clients want to have sex model experience from having the hair and makeup done and like a professional, glamorous photo shoot to also getting the images retouched. And all of a sudden, women wanted to be photographed in the nude where it's being pregnant because they me more was on the cover of Vanity Fair and the world went crazy. So nowadays we're so bombarded was like naked skin and sex sets on billboards that it's really easy to forget that it wasn't big Do Hyung's upon the time. And, yeah, nowadays it's just this great photographic style. So nobody looks twice today when seeing a sexy Victoria's Secret model on a billboard or when they're blowing kisses like on the runway. But as long as these images and fashion images are done tastefully, I think it's OK. We don't really want to see this tacky glamour image is done by photographers that don't really go with the times. So laundry looks Yeah, laundry that looks trashy than the makeup and supposes that just doesn't really work well together. So it would be better if the poses and outfits work in this kindof modern dilemma. So when living in England, I had the pleasure to photograph Katie Green, and she's a fantastic UK glamour model. And She Waas, originally assigned to represent Wonderbra in 2008 and apparently her agency, required her to lose weight. And then Katie refused, and she ended her contract and started a great campaign against agencies and their size zero demands. So she went on, promoting healthy body Image is and many people supported services decision. And what a really sort is great about Katie is that she wasn't this kind off trashy glamour . She was like, really playful, and she kept her sexiness lighthearted. So her poses were a lot off laughing poses, natural looking down like she would have her finger on her lips like sh this kind off sexy but subtle. Or she would bite her index finger. She would pull her hair to the side. She would can rip her color Olten or biting her lower lip. And she was just very playful with, Yeah, just playing with a brass drop, or like your stockings. So another great style that's more this playful style, like a set of pin up, and that can be a sexy or queued or cheeky and the style of said seductive, but in a really fun and natural way and the outfits that can range between some suits or short skirts and as a figure showing closers. So I think this is a really fun shoot if you can do like a pin up shoot. 65. Fine Art Nude Photography: fine AB nude photography. So I considers us as one off the most difficult genres in photography, and that's not pick us improved or I can't handle a naked body. I don't care about that at all because having lived in Germany and quite familiar with sauna places where nudity is a must, it's strange it for us. But to be honest, nobody really cares that everybody runs around naked. Unlike in England, where people addressed with a bathing suit or in the US, where people are often dressed in their complete sport attire when they go into the sauna in Germany, you have to be nude in most places, so they would really give me a strange look if I would sit here naked. So that's not really the worry. With the nudity itself, it's more that it's really easy to mess up the image. So if you're lighting is not spot on naked flesh, it's just not for forgiving at all, especially when you know when it's not posed in a tasteful and delicate way. So there is this post called the Spread Eager, and I would give you the urban dictionary definition, but I can use a language year. So let's just say that name refers to a different way so you can spread the female model. It's legs, and it's just not where you want to photograph into. So if you shine light into her groin, then you might not even work anymore. It's a normal photographer but produce images that are more suited for the added entertainment industry. So the basic instinct polls, where the modern sits on a chair with open legs, can actually look quite cool when her lower body is completely in shadow and you don't see any inappropriate things so fine at nude photography. It's more about shadow than it's about light. And I see so many images off photo collapse where they call themselves sign at photographers. But in reality it's off. Not really fine at when it's over lit. So sometimes I worry that it's not really about creating ads, but more like yeah, that's a photographer. Just want to see boobies. So my next various where can I go wrong? There are no props, so they are not even close is to play with. So if you're shooting a female model with long hair, then maybe she can do something with that hair, A stack would say, but that's about it. They have no jeans pockets, no jacket, callus, no scowls, anything what she could do with her hand. It's just her and her body, and you can run out of ideas fairly quickly. So I would suggest investing in some props that fits the genre. So maybe some sheepskin or sheer fabrics, maybe blank jewelry, and so on, just to give you a greater variety whilst you're shooting. So I hardly shoot find up nude. But I do like the imply it nude style, which means that the model covers herself either with positioning off legs or arms. Or you can also just achieves this. When she's more sideways, all the model can cover herself with other items that are not necessarily closes. So I don't consider these images that ever show you here, now that they're like fine arts because they're more cheeky and a lot of fun, especially if you can think off other creative ways on how to cover your model. So if you are interested in the more traditional style of fine art photography, then have a look at Russell James website because he photographed a lot off Victoria secret models and I consider his style very tasteful. You will find Hiss website also in the cause materials. 66. Assignment 10: now you. So this assignment, that's all about you and only you can answer these questions. So first of all, have a look at these images here. Andi, which Styer comes close to yours is a natural light off camera flesh studio lighting. Do you like commercial or editorial photography? Then have a look on the Internet for the following photographers or artists and the site which styles you like and which you don't so have look at Rankin, David Lush Appel, Steve McCurry, Helmet Newton, use of cash and Larry Jade on your next photo session. Heaven would part with you like Pinterest images or ripped out magazine ads where you imitate one off those tires that you liked in the question number one and change it by putting your own spin on to that. If you didn't like any off, see artists above you could investigate Siddique Havers movie or TV posters that you like. If you like postproduction, Do you have a specific work floor challenge 67. Answers (Intro): So here are the answers to your assignments and thes answers are just forgetting your creative juices flowing and other ideas that pop first into my mind. So if you have different sorts and don't worry, because many answers are possible. 68. Answers To Assignment 1: all right on the number one for the chapter. Why to pose. So have a look at the images on top. So the left image that would be one that parents often like because it has a natural looking body animation and a very pretty smile. The picture in the middle. Number two. That's something the teenagers Klein's or models off like, because I have seen more shape in their body to slim them even further and a different face expression. So instead, off the smile, it could be intends or sexy or a serious expression and the picture on the riots. It's a certain image. That's something that grand parents often like because this image is more traditional in more former closers and poses. 69. Answers To Assignment 2: So here are the answers for the second now you assignment in the chapter preparation. And first we had this image where we said locators and figure out what went wrong and how could scanning have improved these photographs? And in the first image you have a these distracting people in the background and be a There's this wall and the horizon that cuts through the heads where we said you have to either be a little bit higher than them or a little bit lower so that you don't have anything that cats ruse ahead and see would be is a distracting hand that grows out off the rights back. So we always want to avoid this kind off hand. That's kind of crawling alongside the bag because it looks like the hand is disembodied and it also makes the bright appear a little bit wider. So we want to avoid that. In the second image, we have a that the trees grew out off the cup its head. So once more, be careful when at any point, anything rolls out off people's heads because that's ah yeah, a big distraction. Then be the hand rail. Also districts as it comes out off the goons head and see. There is a little bit off bra showing and that should be tacked away. 70. Answers To Assignment 3: Yeah, the answers for number three, the chapter posing part one. So the first images a little bit problematic because the body should be turned more sideways and arm shouldn't be squeezed to the body. So turning the body sideways and creating a gap between arms and body is very flattering, and immediately this model would have looked a lot slimmer. Okay, let's have a look at the picture number two here. The body should be also more sideways. Eso the left, the viewers right. The arm should be also be more visible because the problem is now that it looks chopped off . Also, the bike behind the girl, slightly distracting, as is the back off hands. You should always turn the wrist when possible to show the site off the hands. So picture number three also I quite like the story. Look on, but it looks kind off like she's a dollar just laying there. I'm not sure where her arm went. I think that somewhere under her hair, but if possible, always show people arms and legs. Otherwise, it just looks like she's missing an arm here. Picture number four. Here's a knows cats, a cheek line and that always will make a nose look larger. Also, the left off of us right hand is to bend, and you should always avoid when you bend those. I mean, you normally should actually bend when you can bend it, but make it bend in the way that this hand doesn't appear broken. So Image number five the bodies again should be turned more sideways. And I also saying that the motors arm is just too fleshy as it's catching so much light, so of us left that he can see. So this arm that's coddling the husband that just catches a lot off light, so also have fingers on visible and therefore it looks a little bit like a shop off hands. Picture number six. So this is just a bad crop. So the hand comes out off nowhere and too much off left arms or the viewers. Riot is cropped off, so you should always avoid a crop or composition, where a hand sneaking into the in match you have to show more Who has the hand was actually coming from. Otherwise, it can be a little bit creepy, like it's somebody's else's hand creeping into the image So this doesn't do anything. Toe the story anyway, that she has a hand on the shorter and we don't want to see the back off the hand easa. So it would be better if the hand is turned was called fingers. Or if it could be, yeah, maybe placed gently on the moderates face. So, you know, we always just want to see a little bit more off a story, and he has a hand is just not doing anything for this image. 71. Answers To Assignment 4: and this number four for the chapter posing power tool. So the first picture here, the body position is great. You can see the lower back so it doesn't look like it's kind of missing. And the models right arm the viewer's left. It's nicely bend and doesn't come out too far, so there isn't too much for shortening going on him. The models left arms with us right to spend, and you are the touch. The head is kind of flattering, and you can also see the fingers from the side, and that's always flattering. The fingers are slightly curved, which is nice, too. The head position is great with a nice chicken shin. And yeah, the model also turned, I think toe the chocolate side. So the whole animation is really nice due to the uplift, the models bag a slightly arched, and that's also nice animation. The eyes a tiny but strained. Maybe the model shouldn't look quite so far off because unless I write would be visible, which I think would be better. Also, the light should have been positioned a little bit higher so that no shadow would come down and broad lighting us mostly used for male photography. So now I'm not sure here. I think it doesn't really Ben yet. I don't really mind this year because the model isn't posed to feminine. It's more like a tough look because she's laying in the hay like a cowgirl. So I think years abroad lighting That works because it's kind of more male poles. In a way, however, I'm also wondering how it would have looked like if the light would have been positioned to the other side so that it would be more narrow lighting. That might be interesting here as well. So the second picture, So he has a models. Facial expression is great. Maybe a little less I white once more would be better, but it looks sexy and yet natural. It would be better if her bag was ached Marzel, because this would lift her body. And it would also lift her left arm because I think there's too much flesh squeezed onto the couch, and that makes her arm appear bigger. So the left hands lovely. However it's nicely turned, and the fingers I could. The other hand is not so great. I think the back off the hand this visible too much, and it looks just too bright, which makes the viewer look towards the hand rather than her face. And in this position, you also can't see the last part off her finger. So it once more it looks chopped off. So I'm not to keen, with the pillow also growing out of her head. It's a stack as her hair, and that makes it kind of difficult to separate the pillow from the hair. And therefore I think it's more distracting. Lighting wise are like, Yeah, those ideas. So the flesh light provides great contrast. Why natural light is soft off for both pictures. Once with flash ones was natural light. It's kind off interesting look. Both are sexy wants see out more contrast, e the other one this more soft. So depending on the concept, both lighting concepts can work 72. Answers To Assignment 5: answers Number five, the chapter for male models. So the first picture, I think, Yeah, it's a great body pose for a 1,000,000 model. As we said, it looks quite good when a male model is in the secret off, so the upper body lean slightly forward. The arm and leg positions are great. I like the head as a prop because it gives the hand something to do, and the light is also nice. Separate the model from the background and the shadow from this kindof Rembrandt lighting gives a nice shape to the face. I think so. That's really nice. The second image. Personally, I'm not a big fan when the hand of stack into a pocket, but the some hangs out. And even worse, the some has pointed to the groin area like an arrow, and it's kind of distracting on the dock material off the genes so easy as a hand has to go into the park hurt, and that has to be then fully in. Or you can also maybe hangs a some into the bed loop and let the hand relax. So whatever hand position you decide on, don't make it sit or point to the groin area. I don't mind the AM position close to the body. He is so slim model and the arm shouldn't make him even slimmer by creating a gap. However the stands it's too boring to be considered editorial, and this would be the only style where would excuse that decreased T shirt. So if you want to use such an image for commercial style of photography, this shirt that has to be ironed pictures on mystery. So this is the very strong male pause alikes across arms and attention. Because here you can really see how the mass it's pop out and his head position is great also. And personally, I would try this image again and have him squinting maybe a little less because off the bright light, it's kind of caused by a golden reflector. So I would tell him, close her eyes and then 321 open your eyes and so that you would have really big eyes. And then he can relax again because it's really hard. If you have to look against any kind off light or reflected light, however, than other people that might like this kind. Ofs cringed. Look that Peter Hurley likes, So it's a little bit up to you personally. I would like probably the I see a little bit more open, but obviously you can, Yeah, tribals ways. Here is a scrimmaged eyes or more open eyes. 73. Answers To Assignment 6: answers Number six about the chapter opposing cap. It's so let's have a look at the first image. So I like situated possession and house a model lean slightly back while he leans in and holds her and also like the leg positions, although typically the female front like a spent and the back leg has the weight. So, however, here's the other, like a spend, and the foot flips up, and I think it works because it brings their back legs close together, which connects the lower bodies. It gives us pose this kind of intimate yet fun feeling. I also think that Hiss legs are well placed to woo because a nicely separated and you're there, yet relaxed and animated. However, I'm not too satisfied with the position off the arms. So the arm holdings a partner should never be at this 90 degree anger because it separates our can. A cat's their body in half because it just looks too straight. So place it a little lower or higher, because this way it's not too distracting. I'm also not too happy about the girl's hands that creeps up bigger behind the guy's neck, so if you can see the arm that connects to the hand. It always looks like it could be belonging to somebody else, like its photo bombings. A subject. And I don't mind the hand on the guys phase. It's not maybe the best hand position, but yeah, she pulls the guy toward so and touches her face. So I think it looks natural and also the facial expressions. I great. Just be careful. If you pose people like this that maybe you don't have her hand creeping up anywhere and that you have any arms not in 90 degrees, but that it's more bend. So the picture number tour. I don't mind the girl touching the guys phase, but somehow I'm not too keen on the other way around because the guy has a lot off the tools here, which is great for his quick, creative expression and so on. But on the picture, it can look a little bit rough so the hands don't look gentle enough. But more like Hey, look at me. So I think it would be better if they were low what just a little bit so it's maybe less impactful. I like the expression off the girl and that they are in different Hyatte's. And this way you don't really stack the ice or anything onto each other. So I think all of this is great. And you are, I think, the only thing that really bothers me when the hand looking too demanding for the picture number three. I like this temper to temper position, but it should be a bit more often anger so that the eyes are different in height. So what we said in picture number two that this is great, that the eyes on different heights here. I think they are too much on one level, and they also squeezed too much together. So the right or the viewers left eye on the guy. It's already now does this move kind off the started and this put it down and also the guys right hand creeps up behind once more, and they said, we don't really want that. Any hand is creeping up anywhere, and the other hand kind of looks like a bunch of bananas, which is also not really good. Although I like this intimate feeling off this pose. Having them both look at the camera, it might feel a little bit forced. Maybe it would be better if one person looks down or maybe a bit at the other person. So here I think it looks a little bit stiff, but definitely my main problem is the goods hand was now what I call the bench off bananas and that the squeeze too hard together so that the guys I is distorted. 74. Answers To Assignment 7: answers for number seven, the chapter dealing was Wait, so I think this image via that's obviously a great animation for anybody. Size because the body is turned sideways and the weight is on the back leg. So front me a spend and slipped back, and the hippest also placed back so the lower or the body is kind off leaning forward and the lower body is back. Because this way you move a lot off the heavier body part out off the picture and only focus on the great slimming shape. There's also the chicken shin, but it's slightly raised. So this way it con create divergence and the lighting release limbs. The cheek was a lot of shadow, and the head is turned yeah, to the chocolate side at the same time. This is this kind of shadow that extends down what's so That's the back off the arms also and shadow and this release limbs everything at the same time, which I think works well. Ah, the jackets and top are great for coverings of fleshy skin. Why, it's giving the image a lot off texture, which are also sing works really well. If the top would be tighter or looser, then that might have. Yeah, then I probably would have turned the model was the back towards the light and then having her look back into it so that the bust doesn't become more exaggerated or less defined. As we said, if you turn somebody with full breasts into the light or with little breast than it either looks bigger or smaller. But I think here because we have a fitted top. It works really well if you have some light, if you have a person into the light and yeah, this material actually adds a little bit off a sparkle on the top, so it accentuates her bust. But I don't think it's here a distraction, so that works really well. Remember that you always have to check if it's an attraction or a distraction, so I would definitely recommend, especially was full of people if it looks better to turn them away from the light and then bringing the face back into the light. However, here, for example, it can also just broke well to have the whole person facing the light. The only thing I would like to change here, in hindsight, is the position off the hand because I think the fingers could be maybe a bit more, occur together and not separated too much because we said we don't really want that the hand starts to look like a claw. So in the final version, if you have any kind off distracting items regarding hands, you could always crop to a closer in much. So that's what I would probably do here. I would just go in and have a close up from from her face and upper body. If the arms were uncovered, I would use this any way to reduce them in size, because if you crop in close us and you can kind of shop them in half. 75. Answers To Assignment 8: answers eight for the chapter lighting. So the first image that's a typical narrow or short lighting. So you have shadow on the cheek closest to the camera, the picture number two that's considered fled lighting and even yeah, if you look close into the model's eyes and you can actually see the two reflections because oneness more up and left and as a right and down and this flat lighting because the light comes from both sides, or also if you're using a plight ing when the light comes from under knees. So this doesn't work if you want to slim a face, however, an image without shadows that can also be need for some people because, especially if you have a slim person than that works great. Or if you just want to have a new image that's more soft and you are more dreaming. So if it's done right, then you can also work effectively. Was fled lighting image number three. So here you have split lighting and broad lighting, so the G closest to the cameras let's and the other side is in shadow, and this happens when you use a small lights or something like a speed light that doesn't really create a transition from light or shadow. It's more off a dramatic fall off, and this can look very editorial. So it's kind of a creative and intriguing lighting style, and that's often used in male model photography and the image number four. This is Rembrandt lighting and broad lighting. So sometimes a broad lighting can also look nice on women. So he wants more that she closes to the cameras. Let but the lights waas. It's a lot bigger and softer, and you can see that in regards to number three was a picture is pretty much on one side lips and on the other. And, yeah, shadows with the face has this split lighting. And here on picture number four, you see how the yeah, pick soft box kind of transitions from light into shadow and then creates typical Rembrandt Triangle on the other cheek. So the no shadow goes down and it connects with the shadow on the second cheek. And that's what we refer to as Rembrandt lighting 76. Answers To Assignment 9: answers for the number nine, the chapter body language. So the body position and language tells me here that this cup capitalists your intimate like boyfriend and girlfriend. And this is not how you would to pose the couple that's in a platonic friendship or if there would be brother and sister. So even though there's nothing sexual going on, I see the intimacy as a couple that falls asleep in the partners arm at night. And I like that. The position off the girl is lower and how his head is still down to her like he's watching over her. And it's kind of protective The things that distract me, that's kind off. Yeah, mostly her watch, which is too big, and it catches a lot off light and also her hand, which is just flat on his shoulder. So that would have been nicer if it was slightly Kurt kind off around this neck. So we would only see is a side off her hand. I would also like it better if Hiss Hand would turn just around two copper able, and at the moment it just looks a bit like he's scratching her because his fingertips wa snails there are buried into her skin. Was it nd's? Howard looks like. And it would be better if he would just called his fingers together and maybe just kept her able or otherwise. He could also maybe just have his hand lower down on her bag or something like that so that the whole story just comes better together. 77. Answers To Assignment 10: All right. So, as we said, answers for number 10 that's all about you. Also, that's really up to you. What kind of style do you prefer? Which adds us. You like you like commercial or editorial photography. So that also will always dictate your posing styles. It really depends on yeah, the style you're going for and therefore the posing, the lighting, the exposure, the storytelling that all has to work together. So I can't give you any answers here. This is all up to you, depending on your preferred style. However, I want to show you one more thing where I think that might be beneficial for you. And these are my top 10 portray poses. So just have Look at them. Maybe you'll find them them some inspiration. And yeah, have fun. Was my top 10 poses. 78. Final Thoughts: so he has some final thoughts and they are about the reality in portrait photography, which can be really tough but also very rewarding. So first off, all I want to saying he wants more for watching this tutorial. I hope it will help you with all your future photo shoots, and we give you creative ideas for posing and also a lot off inspiration. And maybe you are already earning money from your photography. And then this tutorial can help you elevate you to the next level. So that's why I want to leave you with some final thoughts. So portrait photography is a really tough business to be in if you are doing it as a hobbies, and it's certainly an expensive hobby, but hopefully also a lot of fun. So most off your friends, they will ask you if you can take nice pictures off them, and then they will be wowed, as they will be impressed that yours are so much better than what they can do. And now you can also post them in the nice way. And so they were compliment you and maybe invite you to dinner as a thank you. But if you want to be in the photography business. I consider tough because off the following, so a bad photographer is visible and good photographer is invisible. A great one is afforded of artist. Obviously, I'm saying this with some sarcasm, but let me break this down for you. So the worst scenario is that somebody looks at your images and says, Or Adlai pictures, What a terrible photographer there, Blurry pictures under exposed, just awful pose off. That just looks terrible. So why is an good photographer often invisible? So he has the same now as you are nearly finished. With this tutorial, you are able to post your client like a supermodel. Your model will look like the best version off herself or himself. They will look slim. They look toned, the expressions are spot on. There's no distracting part off the image, and the lighting makes him look like a $1,000,000. And here lies the problem. So when you take a great image off your client and they are not a friend of yours or your family, and then they share it with their friends on Facebook or Instagram, how often do you hear something hashing? Oh, Wow, This is such a great photo. This photographer must be awesome. Why? It's I wish this would be true. That mostly goes Lexus. Oh, wow. What a great picture. You look amazing. You look beautiful. Also pretty. So they compliments a client, not the photographer. But why you spend so much time educating yourself and a lot of time practicing photography . And now you watch this tutorial. Shouldn't you get the credit? Sadly, no, they don't know you and they don't care. They only care about the friends. So as a photographer, you achieved your goal and you met your client's expectations. You managed to make your client look like a supermodel was out that it's too noticeable how you did it. And your client or model, they will laugh these images. So congratulations. You used all the right ingredients. And maybe you also used a little bit of photo shop, but not too much that it's obvious. So your client upload these images are tax him or herself in these images that you upload and then they get their 15 minutes of fame, not you. Then so long. Very lets them have it. I have heard photographers complaining that the client didn't credit them, that they cropped off the watermark that reclined through aggravators on it and so on. Yeah, I know it's not great. I wish photographers and artists in general, for that matter would get credit. And maybe your contract even forbids such sink. So maybe you even forbid that they crop out your water, Marco, that they put filters on all off these things. But honestly, I say, Let your client have thes 15 minutes of fame, let them feel great and beautiful and be nothing but nice to them, because if they had a great experience with you, they will come back and they will recommend you. On the other hand, if you are Photoshopped genius, then your style might be pretty recognizable, and people are normally more interested in your work or the work floor, then in the model. So if you want to check out two very talented Photoshopped artists and go ahead and look at the work off Caravan Hollywood and lower Alina Roban So Kevin Hollywood and lower Lough ha Halina wilbon. Now I want to say her name in English, but it's a German name. So both artists as I said they live in Germany. But Kevin Hollywood also created some English tutorials on YouTube, about a style so his photo shop approach is very graphic. So it's kind of like a movie poster look and allow. A style is very kind of dreamy and romantic, and it's kind of like a fairytale portray. So you might love these images in that style, or you also might hate them. So he's away. The creator is more visible. It's much more than a photo because Kevin and Laura, they are more about creating art, and they are getting booked because off this very specific style, so personally, I really like those images. But for your everyday client, thes editing techniques are a likely not what they want. If they just want a normal family or seeing your portrait and be, they might be also very time consuming for you. So at 500 picture, you don't get a lot off likes without some amazing color editing or composites. So it makes me sometimes even wonder on even on Instagram these days, if these creamy, dreamy places I'm looking at, if they even exists, or if it's purely just done with photo shop. So But as I said, don't worry. So I think for your everyday client, you don't have to create such images. So the every take lines, I just want to feel better about themselves. And there's no better feeling when somebody who has the bad complex about him or herself looks at the fortress and says, Wow, because they were treasure these experiences with you and images off themselves for a very long time. And one day they will look back and you know, you see them maybe even showing the photos to the kids and then their kids would also think , Wow, so photographing people is very powerful, and with great power comes great responsibility, so don't take it lightly. Don't just press the shatter practice your lighting practices poses and also always think about that. Emotions are even more important than any poses. So it's all about the story. It's all about them and the times they experience at this moment in their life, so will be friendly and professional and creating experience and make every image count. So you are on the right way. You made it to the end off this tutorial. So Ray, so I wish you good luck ends happy shooting 79. Further Reading: So here's some further reading and studying. Tell me and I forget Teach me. And I remember involve me and I learn Benjamin Franklin. So I hope you yeah, kind of listened to a lot off useful information and that you enjoy this tutorial and that you are eager to go out and practice. And if you would like to study or investigate particular subjects for us, um, here are This is the resource is and the promise you you will also find them in the cost material. There will be a a page where you can also download them. And I'm not affiliated with any off thes Nor was anybody else mentioned in this tutorial. I just believe in a strong photography community, and I think that child out important. I also want to involve you in my sinking progress and how I got there. So these sigh, it's that you can see here in this cost materials there are no particular order. So it's up to you to rank them. Maybe you like some off these tips, Or maybe you don't. So that's kind of up to you. And I hope you have fun to study further material. So enjoy and happy shooting