The Ultimate Recipe For Taking Amazing Portraits Every Time! From Posing to Lighting to Storytelling | Sandy Dee | Skillshare

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The Ultimate Recipe For Taking Amazing Portraits Every Time! From Posing to Lighting to Storytelling

teacher avatar Sandy Dee, Sandyseyecatcher

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

83 Lessons (4h 13m)
    • 1. Why You Need This Recipe For Your Portraits

    • 2. About Us

    • 3. The Recipe

    • 4. What To Expect From This Class

    • 5. Ingredient Number 1: Story And Style, The 5 Ws Of Your Story

    • 6. The WHO Of Your Concept

    • 7. Fictitious Concepts

    • 8. Biographical Concepts

    • 9. Concept vs Vision

    • 10. Briefing

    • 11. Why Should Your Model Choose YOU As The Photographer

    • 12. Coming Up With Concepts

    • 13. There Needs To Be A Story In ALL Your Images

    • 14. The Where, When And Why Of Your Story

    • 15. Photography - Not Just Skills But Passion

    • 16. What Is The Story Of Your Image: Literally, Figuratively, Abstract

    • 17. Your Style

    • 18. Inspiring Photographers

    • 19. Ingredient No 2: Intro To Posing

    • 20. Everybody Can Look Like A Model

    • 21. Breaking Down Poses Like A Telephone Number

    • 22. Snap Shot vs Great Shot

    • 23. Wedding Photojournalism

    • 24. Professional Models

    • 25. Posing Like A Pro

    • 26. Body Tension

    • 27. Feet

    • 28. Leg Rule Number 1: Define The Right Angle

    • 29. Male Posing

    • 30. Leg Rule Number 2: Don't Make It Fleshy

    • 31. Leg Rule Number 3: Keep It Classy

    • 32. Leg Rule Number 4: Guide The Viewer To The Right Part Of Your Image

    • 33. Leg Rule Number 5: Bring The Legs And Body Into The Right Angle

    • 34. Back, Core And Shoulders

    • 35. Elongating The Neck And Jawline

    • 36. The Story Of Your Model's Shoulders

    • 37. Arms

    • 38. Hands

    • 39. Noses

    • 40. Ingredient Number 3: Exposure

    • 41. Exposure Scenario Number 1

    • 42. Exposure Scenario Number 2

    • 43. The Luminous Look

    • 44. Lights And Effects

    • 45. Your Favorite Exposure Is The One That Works Best For You

    • 46. One More Tip About Exposure

    • 47. Composition Guideline Number 1

    • 48. Composition Guideline Number 2

    • 49. Composition Guideline Number 3

    • 50. Composition Guideline Number 4

    • 51. Composition Guideline Number 5

    • 52. Composition Guideline Number 6

    • 53. Ingredient Number 5 - Illumination: Illumination Vs Lighting

    • 54. Open Shade

    • 55. Avoid Raccoon Eyes And Squinting

    • 56. Shadow vs Light

    • 57. Guideline Number 1

    • 58. Guideline Number 2: Flat Light Means Fat Light

    • 59. Guideline Number 3: If You Want To Flatter Your Model Use Short Lighting

    • 60. Guideline Number 4: If You Want To Make Somebody Appear Bolder Use Broad Lighting

    • 61. Guideline Number 5: Think About The Right Light For Your Photographic Genre

    • 62. Guideline Number 6: Three-dimensional Bust

    • 63. Guideline Number 7: Avoid Lighting up Ears

    • 64. Guideline Number 8: The Right Position Of Catchlights

    • 65. Guideline Number 9: Avoid Uplifting Lighting

    • 66. Guideline Number 10: Minimize Shadows With Clam Shell Lighting

    • 67. Lighting Style Number 1: Butterfly Paramount Lighting

    • 68. Lighting Style Number 2: Loop Lighting

    • 69. Lighting Style Number 3: Rembrandt Lighting

    • 70. Lighting Style Number 4: Split Lighting

    • 71. Lighting Style Number 5: Mixed Lighting

    • 72. Lighting Style Number 6: Stylistic Lighting

    • 73. Ingredient Number 6 - Ambiance

    • 74. To Fix Or To Destroy Part 1: The Right Model The Wrong Background

    • 75. To Fix Or To Destroy Part 2: The Right Model The Wrong Poses

    • 76. Checklist: Pay Attention To Details

    • 77. To Fix Or To Destroy Part 3: The Right Model The Wrong Lighting

    • 78. The Chocolate Side

    • 79. Scientific Proof - Left Side Best Side

    • 80. Ingredient Number 7: Lightroom Elevate Your Image To The Next Level

    • 81. Don't Do This In Post Production

    • 82. ACR Five Minute Edit

    • 83. Thank You

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About This Class

In this course you will learn EVERYTHING there is to know about portraiture and how to flatter your models and clients in the best possible way! From Posing to Lighting to Storytelling: Learn our seven SPECIAL ingredients and master your photography workflow - LIKE A PRO!

WELCOME TO: "The Ultimate Recipe For Taking Amazing Portraits Every Time!" - A new tutorial in our portrait photography series!

Have you ever looked at images on Instagram or 500 pix or Flickr and wondered: "Why are these portraits so amazing?"

And not only that: Days, weeks, or even months go by... but - you can't stop thinking about these photographs!! Was it the lighting, the pose, the expression...? You can't tell….

Which ingredients made such pictures so unforgettable? Why do they "stick" in your head? And how can you amaze your clients and models in a similar way???

You keep wondering: "I have great (maybe even expensive) gear. I know my camera inside out. I know how to shoot in manual mode. I am a wizard with lighting... so - what am I missing here?" Somehow - you feel your images don't live up to their potential. Or - maybe SOMETIMES they turn out quite nicely. :-) But then other times - not so much. :-(

And you don't just wonder HOW you can achieve this "Wow" factor in your images... But:

How can you create this "WOW" factor WITH CONSISTENCY?

Could there be a specific secret? Or something like a "recipe" for great portraits? I am here to tell you: Yes, there is!

Welcome to our SPECIAL ingredients recipe. The only RECIPE you need to know to create amazing images - time after time after time!!

We all know that photography is waaaaay more complicated than "just" pressing the shutter button! There are so many things that potentially turn a photoshoot into a disaster. If you want to know how to turn struggle into success - then you are at the right place:

In this course you will learn:

  • Posing from head to toe - learn how to flatter your model in every situation

  • Learn to tell the right story for your image

  • How to brief your client and model

  • Identify your shooting style

  • Understand the "who / where / when / what and why" of your image

  • How to come up with exciting concepts

  • Find the right composition for your image

  • How to create airy exposures for dreamy images

  • Everything you need to know about flattering lighting

  • How to shape your model with shadow

  • The importance of the ambient feel of your image

  • Popular mistakes - and how to avoid them

  • Tips on the right editing

  • My biggest secret: How to flatter everybody with ONE simple trick

  • And so much more!

At the end of this course (and with a little practice) - you will cook up the most delicious portraits - like a MASTER PHOTOGRAPHY CHEF!

You will WOW your clients every time - While shooting with ease.

And most importantly: While having confidence in yourself and: While having fun!

If you want to know how to create amazing portraits...Enroll now! I am looking forward to teaching you all my tricks!

Happy Shooting! 

Meet Your Teacher

Teacher Profile Image

Sandy Dee



Sandy is originally from Germany and studied Photography in London, where she earned a Diploma in Professional Photography. Following her passion for creative conceptual portrait photography, she moved to San Jose, California where she runs stylized portrait workshops, and wrote the book 'Posing Like A Pro' which covers all aspects of posing for the contemporary photographer.

Sandy loves teaching and helping other artists to reach new levels in their technique and creativity! New In 2021: Sandy now also teaches paper crafting. No matter if you want to learn photography, portraiture, photoshop, creating backdrops on a budget, paper crafting, card making, mixed media....Sandy has a class for you. Happy Shooting and Happy Crafting!

See full profile

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1. Why You Need This Recipe For Your Portraits: hi and welcome to our cause. The ultimate recipe for taking amazing portrait every time in new tutorial In our portrait photography Serious. My name is Andy and you're watching Sandy's I catch a TV, and this is a place to be If you want to know how you can elevate your photography skills from lame to fame. Well, I don't think that your photography skills are lane. But have you ever looked at images on Instagram or 500 pigs or Flicka? And one that Why are these portrait's so awesome? And not only that days, weeks or even months go by and you cannot stop thinking about these photographs was It's a lightings oppose the expression. You cannot tell what made such pictures so unforgettable. And you keep wondering, What am I missing here? I have great, maybe even expensive gear. I know my camera inside out. I know how to shoot a manual mode. I'm a wizard was lighting. However, you fear your images don't really live up to their potential. Or maybe sometimes they turn out quite nicely. But then, as at times, not so much, and you wonder not only how you can achieve this wow factor. But how can you create it with consistency? Could there be a specific secret? Ah, something like a recipe for great portrait. It's I am here to tell you. Yes, there is. Welcome to our special ingredients recipe, the only secret you need to know to create amazing images time after time after time. We all know that photography is way more complicated than pressing the shutter button, and there are so many things that potentially turn a photo shoot into a disaster. If you want to know how to turn, struggle into success, then you at the right place at the end off this course and was a little practice. You will cook up the most delicious portrait like a master photography chef, and you were wow your clients every time while shooting was ease and most importantly, while having confidence in yourselves and having fun 2. About Us: in our photo studio in San Jose, California My husband met and I have fled over 50 photography workshops specializing in creating conceptual photo shoots and one off the questions we heard was this one. How are you able to shoot Portrait that Wow, your clients and this one? How do you guarantee great results Every single time? Whenever students were showing me their portfolio, they would go through the images and stayed something Nexus. I laughed this picture, this one to my client was very happy with it. This one didn't come out really well, and this one could be great. But I don't know. Something is missing. Portrait photography requires combining lots off different ingredients at once. End in the hit off the moment not only the basics off posing and lighting, but details like composition and style. You need to think analytically. What is the best posing and lighting for your client? Do the background and wardrobe complement each other? What parts off the image could be considered a destruction instead, off attraction and so on? It can be very, very challenging, trying to keep everything in mind during the shoot itself. It's a hot day, the cameras. Heavy declined is late on one side. You don't want to get into analysis paralysis by thinking off too many things. Yet you also don't want to miss something out when something that can be fixed later in postproduction, like a poorly post hand or a story that doesn't make sense to the viewer. Many off my photography workshop students told me that whenever I watched me shooting, it looked so effortless, like I always knew exactly what I was doing, which was funny, because they would state that at times when I've had incredibly stressed being the host off a workshop and having students staring at do while you're shooting well, you need to like working and the pressure. Also, the studio was often very hot to shoot and plants. I was photographing a lot from a letter to get a higher viewpoint on to my model and walking up and down that lead off like extra work out. So being told, it looked effortless while sweat was dripping down on me. Well, that was kind of funny, but it made me wonder what gave them the impression off effortless. After all, nobody saw the back off my LCD. Nobody saw any picture I had taken at the time. I didn't know what I was doing right, as was any skills that something's come to you naturally. And as us need to be studied and practiced, for example, some people have a natural talent to draw or to paint. I can't. I would need to study and then practice for very, very long time. Until then, I would probably offend somebody with my illustrations. But I always hadn eye for photography, observing landscapes and wildlife and people and seeing the best lighting imposes, I thought, That's just in my blood. I have. Ah, this information wouldn't help my students. In fact, it would probably make them feel worse, like you need to be a natural photography superstar. Otherwise, that's it. Game over, forget it and not let couldn't be the answer, or at least not all of it. I needed to put myself in their shoes. I needed to think back to the time I started as a photographer. I started photography in 2009 and received a diploma with merit in 2011. So what's that? Something in my studies that could help my students and then I realize, yes, I want something I shot with specific guidelines in my head was these ingredients. I could pictures image already in my head before taking it, And this is how I could instruct my moderates was confidence. I think that's why I made it look easy. And those was the tips I gave my workshop. Students backs in. You need to be flattering with your lighting follows. The rule of thirds finds the right poses for your mother, but I wanted to create something more in depth, not just random guidelines or ingredients. I wanted to create a recipe, something easy to remember and efficient. After all, I am originally from Germany, and we pride ourselves with the idea that efficiency runs through our veins. So let's see if I can prove this to you. 3. The Recipe: So I sat down and analyzed all the important things in a portrait shoot that can go right all wrong and a put together. What icing as the most important ingredients and any portrait shoot. So from now on, all you need to remember if don't just take the picture, make it special. And by special, I mean literally s for story and style P for posing e for exposure, see for composition or crop I for the illumination face A for ambiance and l for light room and post production. Our recipe begins with the planning phase. Then we will talk about the ingredients you need to implement during the shoot, and the workflow ends with the right post production. Well, let's call it light room ingredient because many photographers seem to prefer light room and because it begins with an L. But of course, you can use any editing program off your choice. I use most be adobe camera raw, and we'll show you the ingredient Number seven in the quick five minute edit workflow for both a CR and lied room. So, as was any recipe, the mix off ingredients subject to taste, some people will place more or less significance onto one single component, maybe less light room or post production and more posing or less story and mur stylistic elements, the importance off each part and how you mix these elements. That's up to you and your taste. But all these elements have to go hand in hands in one way or another. None of them should be ignored. They had tasty ingredients that can enhance your dish. Imagine lasagna without tomatoes or Beckham L sores or pastor sheets. I suppose it cookbook was non off these items or substitutes, but a It wouldn't be a great traditional us on here. Be it would be like something is missing and see. It will make you struggle if you need to reinvent the wheel every time again. And to say it was about our famous chef, Gordon Ramsay. When you cook under pressure, you trade perfection. So the idea is here. Let's simplify. Maybe in the beginning you need to print a recipe and take it with us a reminder or a quick check during a session, but after a while you were quickly memorize all the points. Your session will flow naturally and effortlessly, as it does so me 4. What To Expect From This Class: lots of cool photography tricks are heading your way. Yeah, it's going to be fun with lots off tips and overlays to demonstrate all off our ingredients in the most efficient way. You will be a fantastic portrait photographer in no time. If you're wondering why we won't have life shootings in this tutorial, I want that everybody can use this recipe no matter if you're shooting inside or outside. If you have a studio or not, if you're shooting was flesh or strop's with clients or pro models with slim motors or curvy ones. If you're a portrait, begin our our advice sounds. Or if you're working in a team, we will cover it all. The structure off this cause this meant that everybody can learn our special recipe, the only requirement you need to know a little bit about your deers and are and have a basic understanding off aperture and shutter speed that it's We will dive deep into each ingredient while focusing on all our options out there showing you ah, studio environment and a specific model would be too limiting and more off distractions and help. I don't want you to think, oh, this way is the only possible way to tell a story. But I don't have a studio environment or oh, the lighting only works with this type of model. No, every photographer can create the most amazing portrait with our tutorial and in the most efficient way possible. So here you will learn the theory about the recipe for portraiture. But if you would like to dive deeper after this cause and want to see life demonstrations, then check out our tutorial posing like a pro part to the ultimate posing floor to learn more about posing or our gel, gobo and vintage inspired classes on you, Jimmy or skilled share. Here you will learn the Siri and an hour as a conceptual photo shoots. You can watch life how it comes altogether. All right, time to get excited about the theory behind our fun ingredients, and you will see very soon. Sticking to our recipe is the best and easiest way to put it all together. When on the job. Once you watch how oil the special ingredients come together, you won't have issues in your shoots any longer, and people will tell you Wow. And you assured it. Look so effortless off course, no master chef has ever fallen from the sky. It will take a couple or even more sessions to learn, memorize and especially to practice a recipe. I always tell my students, not practice makes perfect the right way off. Practicing makes perfect, and you being here is the first step to practicing the right ingredients. Welcome and let's cook it up. 5. Ingredient Number 1: Story And Style, The 5 Ws Of Your Story: If you've watched any off my other tutorials, then you know that I laugh. Storytelling in photography While all the other ingredients can be discussed regarding rank or importance, the story off your image should have top priority. Why? Because what is the point off your portrayed? Otherwise, you might have heard the saying, You don't take a photograph, you make it Anvil Adams unless you're shooting photojournalism. You were not just hired to capture how a scene or a person looks that the client can do him or herself. Taking an image is easy these days. Every part it can do. It was a mobile phone or even professional equipment. It is more affordable than ever, you know that. So you were not hire to take a photograph. You were hired to make one to create something a lot deeper. Us there to make us a client or model look like a $1,000,000 was the right tips on how to dress. And maybe you even hire a stylist or a makeup artist and to come up with the proper lighting. It was the right choice. Off props and background, was a correct posing and was directing, declined to show the right expression. But even more important, you are there to capture the client or model at this moment in time, you're there to capture their memory and you are there to tell their story was all the things I just mentioned. However, the story is also the part that scares my students. And most. What does it even mean? You might think I'm shooting in the studio in front off a seamless background. How much story cannot really tell. Technically, we can learn light room or photoshopped, manual camera settings and the right exposure or strobe lighting techniques. But how can you include a story into your images? Well, fear not. This is not that difficult. You need to ask yourself, Do you covers the five W's the Who? Where, when, Why End what Off your story. In the next section, we will talk about the who off your story. 6. The WHO Of Your Concept: Let's that with the who off your story. Who is the person in your image? You want to ask yourself, Why should the viewer care about him or her? You need to fear the story so that the viewer can feel the story photography. For me, it's not looking. It's feeling. If you can fear what you're looking at, then you're never going to get others to feel anything when they look at your pictures. Don't make Alan. This quote is excellent, but easier said than done right? So how do you get the view toe? Feared something. And even more importantly, how will your partridges stand out and be unfortunate? A bubble that's where storytelling comes into play. Everybody will remember a great story, but just a photo, not so much. There are different ways to achieve image with the story in it. You need a concept, and you need to know the who in your story. Let's that was Are you telling a fictitious or a biographical concept? 7. Fictitious Concepts: the first step in all off this, you need to prepare properly by failing to prepare. You are preparing Tofail Benjamin Franklin, the first stage in your storytelling. You need to have a proper concept. It all depends on who is the person in your photograph? Or who do you want to show? You need to decide if you want to tell. A fictitious story was a concept that shows a fairytale vintage look Hitchcock or Finn while style or any as a stylistic elements that are easier interesting to you or your client. So, for example, lighting jealous Goebbels, black and white looks. Many styles can be used to portray a person in a significant way. But be careful. These styles can also be abused. You might find that a particular concept looks beautiful and timeless in black and white. So you convert this image. But Waas is Are you did it? You just be saturated it into black and white, or that you also change the story, and the mood overall, by taking away is a color. Let me tell you about your power to change a happy tail into a sad story, and please promise me that you were never abused this power. Happy with that wolf. I recently visited a conservation pack for wolves, and it made me sing off my power to tell a whole different story and how easily I could have painted the wrong picture or could have to started the real image. It was a lovely park, nothing like a zoo. The wolves had plenty off room to run around, and it was evident that the handlers took great care of them. The problem? Waas. I wasn't allowed to photograph any of it. They banned my long lens and long lenses there really useful in zoo scenarios as you can compress throughs offense, meaning, making the fence less visible. And this fact scared the handlers. They were worried that photographers would be able to sell these words images and that the Packwood potentially miss out on such profit. So they only allowed lenses up to 70 millimeters and the world would come to the defense while the handler was talking about its upbringing and he would wait patiently to get a treat and learning about wolves. That was great, but there was no point and photographing any of it. I wasn't able to make the viewer fear what I have held. So the words they were happy. But the camera story looked incredibly set, would behind fences, waiting to get this little attention from his hand block. The image looked already said, If I had converted such photos into black and white, it would have looked even sadder. Like advertising. Help me with the ordination to stop animal cruelty or a PR approach to close down the pack with shows The stories are in your hand. You can use them, are abused them little elements have the power to change the whole tone off your fictitious story. 8. Biographical Concepts: the concept could also be based on a biographical story. Again, same rules apply. Think about the stylistic element that you are using. You don't want to tell a set wolf story by accident. The story can be big, like showing a new C O in his dominant position or small. Maybe you want to show a particular emotion. The story off a said Happy is attractive, thoughtful or chicken model. This concept brings us back to It's a story telling possible if you are shooting in a studio environment, perhaps in front off a boring white or black background. Yes, it is. It is always possible it has to be. There needs to be a story in every landscape, every animal, every person, even in an item. Because how else can you intrigue your viewer? Do you think you are photographing just landscape? No. You are capturing a story. The light and the environment have to be so amazing. That's viewer immediately wants to know more about it. Where is it? How do you get there? Which scenario? What's better? Sunrise or sunset? Are you saying you are photographing just an animal? No. You are capturing a story. The viewer again wants to know more about the elements. Personality is acute or cheeky family or even dangerous. And your experience? Was it risky to be so close? Or how did you engage and capture? It's funny personality. Where does it live? Do you have to wait a long time to see it in action was captured in just one shot? Or that you have to come back many times in your effort to capture it in a specific way. So your image has to engage the viewer that he or she wants to ask all those questions. But don't get me wrong. It is not your job to tell a blockbuster story in every image. Your only job is to make the viewer feel something and people photography. It needs to make the viewer interested in that person that you photographed, even if it's just a small, intriguing expression immediately is the viewer wants to know. Why is the person looking set? Or why is she's smirking? Or why is he looking so sort for? Think about why so many people are obsessed. Was Mona Lisa's smile. Okay, It's a painting, but similar to photography. It's just a simple portrait. Why are people so fascinated by it? I have seen the original painting. It's not even that big. There are murders and frescoes was way more detail or scenery. Still, people want to know about Mona Lisa, do you? Singly another, DaVinci sat down and just painted what he saw. Or that he wish that people would not only view but fear his painting. Whatever has thought were I think, that we can all agree he had some concept in mind, and so should you. In the next section, I would tell you why you don't need to have a vision, and that's human needs a plan. 9. Concept vs Vision: I could say that you need to have a vision for your photography. There are many photography instructors out there who tell the students you have to envision your image. I disagree. I don't like to use a vision. I am choosing the term concept on purpose. I find that's a good vision. Puts me under a lot off pressure. It sounds like I have to have this fantastic never seen before idea in my head that only I can envision because I'm that brilliant somehow. But who feels so confident when just starting was photography or even later. For me, it's more critical that you have a plan. Not that you envision the story you want to tell. Similar to a director on a film set, you need to know where the story is heading off course. It is far more challenging to show a story in a single image instead of having 90 minutes or even longer off showing it. But the idea that the same, the director communicates with the script writers or actors or production team, and this is also how you need to approach and plan your set. You need to talk with your client or modern about what they want to see in their shoot, or if you set it up to enhance your photography, then you need to be clear about your story and what you want to tell and show in your portfolio. 10. Briefing: If you are arranging an appointment for a photo session with a client, it is common practice that you would tell them about the wardrobes and you to bring. They should leave closes with big logos or too bright colors and too trendy things at home . Why? Because you want to pose and shoot their obsession in a classy, non distracting and timeless way. If they were items that scream a specific year, they won't like their images anymore when looking at them in the future. For example, not glasses or 80 hairstyles, you might think cool. It's a modern don't like their images in the future. Then they have to come back to me for more. For two sessions. However, you don't know that the models might blame the photographer for taking dated images off them and the city glasses, heads, hair, eyebrows or whatever seems trendy at that particular moment in time. Also, it is their fault for dressing like that they might feel it is your fault for not breathing than better or correcting the outfit. It is your fault for telling the wrong story, and they will blame you for charging them lots of money so next times I might go somewhere else if you want to arrange an appointment for a photo session was a model they require and even more in depth. Brief one off our photography workshop. Attendees wonder to arrange a trade shoot with the model. And he asked me this. What does the model mean by scent me a concept off your shoot. Which means if you never thought about concepts and storytelling in your portraiture before you are not alone. But it also means you are not thinking off. What can I offer to my client or model? Why would he or she want to shoot with me? Or maybe you are alike. Why are you telling me this off course? Attend my concepts. Then go ahead to the next chapter. No hard feelings. If you think this is aimed at beginners, let me tell you, I see the subject approached in disastrous ways all the time by beginners and professionals . Here comes one example. I am a member off a local Facebook group where photographers and models can arrange get togethers and collaborate One off suppose that I see nearly every day is this kind. Hi. I am a photographer. I want to update my portfolio. I'm looking for young, sexy female moderates. Here are some of my pictures. Let me know when we get together. Can you see the problem? This photographer doesn't want to tell a story about the other person. He or she doesn't think about what to offer. It's all about me, me, me, me, me. I want I want to update my portfolio. And, as you can suspect, unless the images that the photographer shows in this post I like the most amazing images ever, he or she will most likely not get any responses. The Facebook Post its tour narcissistic to take a little creepy and most of all doesn't care about the model. The polls doesn't even have any real requirements. Yeah, sure. Well, I want sexy people for our portfolio as sex sells and makes us look good. But sexy is also subjective. Why should a modern waste her time in replying and sending her portfolio when she doesn't even know what the photographer has in mind? 11. Why Should Your Model Choose YOU As The Photographer: and, most importantly, alway think about the question that everybody secretly wonders What's in it for me. If you approach any model, it has to be crystal clear. What's in it for them, especially when it's a trade showed like a T F p time for Prince or digital fires. If the moderate doesn't know anything about you, your concept, your offer, why should she or he waste time with you? So this brings us back to the students. Question. What does the modern mean by sent me a concept off your shoot? My answer. Describing your shooting concept is very important with the modern as the chills. The following Number one You are not a creepy guy. Sadly, there are some guys outside who pretend to photograph models, but in reality they just want to hang out with pretty girls. Though the modern needs to protect herself, especially if she doesn't know your intention. Do you want to shoot fashion laundry? Newt? Can she trust that all these images are taste for you? Also show that you thought about a fresh concept and that the model get something out of it is a more experience or style images number two more experienced models who might typically only do paid work, they might be willing to work t F p. If the concept interest them on the moral mayhem or portfolio page, they sometimes list the concepts that they would love to work on on the street. Your concept heads the modern. What closes to bring, how to do their hair and makeup number four. It helps models to see if your style and taste for their portfolio and number five it shows if this is a one off shoot, are if there is a future and working together more often. If it's a concept that can be developed further, the best briefing includes one smaller the five W's. If you post the briefing online or in a Facebook group, tell your potential models Who? You? Our what, the comfort this about where you want to shoot when you want to arrange the shoot and why it would be a good collaboration, meaning what is in it for the model? Is that the publication a payment, great styling, exposure or experience 12. Coming Up With Concepts: coming up with concepts. Amateurs sit and wait for inspiration. The rest of us get up and get to work. Stephen King, As I mentioned before, I don't have a vision, but I do think about photography and photo shoot all the time. Hardly a day goes by where I don't see something that makes me wonder who, what, that being a cool it here for a shoot, I'm inspired by Big Boss magazine, Cavallo's Instagram Pinterest TV, Serious Advertising's movie posters, seasons and holidays such a Valentine's Day or Easter or Christmas and also National Days. Once I got a notification for today s National Bubble Wrap Appreciation Day and I was wondering how I could dress up a model in bubble wrap. So if you're looking for inspiration, ideas can be found everywhere, and great concepts don't even have to cost a lot off money. And to prove that, check out Mario Testino. He is a great fashion photographer who has the privilege to photograph lots off celebrities and even royalty. And a while back he shot a personal project called the Tower serious, and I laughed this approach. It shows that you don't need expensive dresses and style is to create cool concepts. Yes, he is lucky to have access to a lot off famous people who look glamorous even if wrapped in a tower. But still, I think the idea is fantastic because off its simplicity, and that's a great way to come up with ideas by fashion Mega Zins. However, if you're a guy and you're thinking sure, as a woman you probably returns off women magazines off course, you'll have more fashion ideas. No, then you're wrong. I don't like women magazines at all, most off the articles and for me, I couldn't care less which celebrity wore what or gashes about a trendy designer. Or if Kim Kardashian is pregnant again, or if Jennifer Lawrence lost weight was a new diet. I don't care. When I buy a mega zin, I buy it. For the advertising. Nowadays, Oil magazine seemed to be made out off 90% advertising and 10% information, so that is perfect. When I look at the advertising, I get inspired by designs, wardrobe, makeup, hairstyle choices, callus concepts and Theo Overall, feel off the image. I also analyze our special ingredients. Is there a story or a specific style I'm drawn to. That's the story show a charming lifestyle or a romantic editorial is the who off the story of fashion item or a person? It's opposing, elegant or edgy, so I like the exposure. Does the image have an interesting composition? How about the illumination? Is the lighting intriguing or just boxed and the beauty lighting? And what about the overall ambience off the picture? That's a background design. Its color or structure suits the story off the image. Also, water of choice is the model and the lighting. Does the oil fit well together and flat as a model and elevates image to the next level? Or is the image mostly designed by light room or photo shop? Is it more off? Frankie added, Or that's a post production go overboard and made the model look fake and plastic here. So I ripped out any advertising that speaks to me, and I put it into a folder for future concepts or a snap a picture off the EDT and send it to my model. And this way she has an understanding off the idea I'm going for, and we can work it out from there. You can also find inspiring images on Pinterest, and then you can pin it or create a mood board. So I do mine in photo shop once I have enough photos to reflect the concept that I am after . I opened these pictures in photo shop and I could eight a collage from them. So the more specific you design your mood bought, the better I dear, your model will get, and this preparation enhances your chances for a great collaboration. 13. There Needs To Be A Story In ALL Your Images: by now, you should have an idea about your concept, But will it find your who in a fictitious autobiographical stories? Who is a person? But it doesn't have to be. Sometimes the story can also be an item. This is often the case and fashion photography here. It is less about the modern or person and more about to let the items speak to the viewer, because that's what the company wants to sell. So who in your images can also be intriguing wild life or a landscape he has? The concept of the light or environment has to be so amazing. That's the viewer. Immunity wants to know more about that. And again, how does it make the view of fear? In this case, you have less off a concept phase, but more off a planning and research phase. How long do you need to stay at this place to increase your chances to photograph it in its best conditions? Or do you need to pack any fitters and interval mita a tripod or any other tours that elevators emerge from a snapshot to a compelling story? So there's also is the option if the who is not the person or fashion or another item, then the who can be the photographer himself. We will talk about your style later. But here I want to let you know why I put story and style both under s for special. Sometimes it is not so clear. What makes the story interesting? It could be your unique style that creates the story. No, as I who needed you might stay photograph a person. But that's not the real story. It's about you. Your style makes the image exciting or creates a feeling off Wanda for the viewer. But be careful. If you don't deliver a concept with a story or a fashion editorial, and you just want to be abstract, you have to shine through the images as an artist with an excellent artistic also really concept, like Picasso are Salvador Dali abstract. Otherwise, ah, halfhearted dramatic style and a boring story or who will not work together mourns die later, but the fats it every image has a who and the story. As long as you keep these parts in your mind, you will fulfill your concept. In the next section, we will talk about the where, when, why and what off your story 14. The Where, When And Why Of Your Story: the Who is the most crucial part off your story. However, these W's will also enhance your story. Where, when, why and what? Where is the image supposed to take place? With some simple props and backgrounds, lighting Goebbels or general scenarios, you can design who it scenes and locations. When is the image supposed to be? If it is a fictitious story with a little history, know how you can let the viewer travel to the past and create vintage inspired image was lighting and gels. You can easily design the time off day for your story. Blue gels could suggest it's night time and was orange gels. You can simulate the sunset, Goebbels and props. They can also indicate a particular era. If you are interested in any off these ideas, have a look on your enemy or sculpture, and that my name Sandy D and you will find all off these tutorials that explain these concepts and stylistic elements and steps. If the story of Biographic Hood, then it depends If you want to show what time it is, you can opt for time. That's closes or props because, like we said before, it's part off the briefing the client my treasure images longer when he or she doesn't feel embarrassed by them. And when the photos that if your current was declined. Even so, there may be many years old. I think that might be one of the reasons why people still love to watch the official friends. Although we know it's dated and started in the nineties, it doesn't really feel dated. We can still identify with their struggles, laugh lives, their hopes that dream James and only the first few episodes gives a century away. And that's very typical was as diets and haircuts. But after that, everything looks pretty much like nowadays and modern. The nostalgia hit me by surprise. When Rachel says to Chandler in one off those episodes, you can keep my Walkman so you can up for showing the era if it makes sense to the story. So, for example, if somebody gets photographed for beings and you see off a company, he or she might want to remember what year that waas it's up to you if nostalgic feelings are working for are against your story, and this can be pure subject toe taste. When Netflix brought out strangers things. Some viewers were saying things like, I love all those eighties elements while other people stated stranger things focuses far too much on the 80 stuff. It's gimmicky, and it's distracting from the plot. So again the story is in your hand. Why do you want to create the image? Well, you probably thing, because I'm getting paid or because I need to update my portfolio or because I want to practice new photography skills. But none off those reasons should shines through your photos. So the moment they do, that's when you create photography halfheartedly. And this is why most photographers have struggled with inconsistency and don't get me wrong . These are all valid reasons we need to make money. We want to become better, but these reasons are about us. 15. Photography - Not Just Skills But Passion: the really why is once again because you love to tell a story about your who you want to present incredible images to your model. Or maybe your model. It will even Gosh Oh, wow. I have never seen myself like this, and that compliment makes you happy or proud. But it shouldn't be the reason why you did it. The why off your story should be You want to show the story off your who in the best light end because you love photography and more specifically, your genre in our case. Portraiture. But how can you visualize your passion? Don't worry. It happens the moment you shows of you or your excellent attention to details. This way. The why off your story comes to life. Your concepts will look authentic and well thought through rather than gimmicky lighting. Posing post reduction Now is the time for your story, concept or style to show through. So that's a viewer can feel your passion. But this was any art. Don't get lost in too many details. If you feel you're getting lost, then step away and try seeing the bigger picture again. You don't want to get swallowed by analysis. paralysis. Ditch some props, clean up your lighting, focus on the right polls, change your lens toe a prime, create fewer options, focus on quality over quantity. Not everything needs to be decided right now. You can leave this worry about composition to the post production state. Things like that. I know, I know. We want to achieve everything in camera. This is how we define a great photographer. But don't let the saying hound you. Sometimes we need to step away from too much pressure and too many details, and that's how you get your heads back into the game. And don't forget, not everybody is the right viewer for you. Don't become frustrated when not everybody understands your story because, as with any at form, it is highly subjective. I received. We had his question ones from my stepmom. My step Mom said something like this you are organizing always these conceptual foot shoots and workshops. Why Why do you want to photograph these models and what do you do with these images? First I was taking a back. I wanted to say our workshops are amazing. We are creating out. Why would she asked me these questions as if she was thinking I was wasting my time and energy. But later I understood we didn't share the same understanding for the Y. So for her, my photography made sends in the traditional sense. A client would book a session for a festivity like wedding or a real reason like a head shot. Oh, our family while portrait or taking photos as a way to keep a memory. But not in the sense off creating out for me. That was strange. Like asking somebody. Why do you watch a movie instead, off the news kind off like photography, as photojournalism or as a profession That was okay. But as an at form not so much, which becomes even Fania when I tell you my step. Mom loves pottery, the whole house and garden has her poetry items everywhere. Wherever it never a cured me to ask, Why do you want to do pottery? What do you do with these items? Well, I could ask, but I could also answer it myself because my step mom has fun doing it, she laughs, creating these items with her hands and imagination, as was any hobby or at form. It's a way to connect with other people. It's a way to create something. It's mentally stimulating. And the more you practice, the better you become as a human being. We need this form off self realization or, if you watched back, cause dealing with criticism, improve your self esteem, then you know the math low pyre. Omit the pyre amid off human needs and self actualization that issa human need not as important as food and shelter, off course wherever most of us have a passion for something, and we want to become better at it so that we can probably share it. But not everybody will share this at form with you. Don't be discouraged. The Y off your story is your Why if, as us agree, disagree like it hated it doesn't matter. As long as you fulfill your idea off the concept with your best attention to detail, then you don't need to worry. You will find people who share your why, just not everybody 16. What Is The Story Of Your Image: Literally, Figuratively, Abstract: and last but not least, what is the story off your image in the first place? Those are, what off your story. It's similar to those who in your story they go hand in hand. The Who in your story can be fictitious. Biographic, Ursa Story Often item or a place and the what off your story that can be taken literally, figuratively, are abstract literally means your image could show something that looks like a movie or a TV season. So, for example, what is your story about? It's about a 19 thirties female explorer looking for the Holy Grail. So perhaps outfits and posing makes a view of fear like he is looking at a film scene. Not just a picture. Figuratively means that the story off your image could be anything where the viewer wonders or cares about something that's backs is or her interest. So the story could be about closers or commercial advertising. For example, maybe it's a designer wants to sell his fashion was an exciting concept, or the tail could be about your model or clients. Moody, sexy play for fun expressions and so on. All the story could be an editorial story in magazines, you will often find editorials. Bretz was very hip or edgy. Models will celebrate a particular lifestyle, and in this case, so who could be the modern? The fashion or bulls abstract means The story isn't about any off these points. It's about the artist meanings. The Who is you, which brings us to your style. 17. Your Style: What is your style? It can include everything from technicalities, exposure to opposing toe, the composition or post production and other choices. The models of props, a concept, the time and era it's supposed to be in but focusing only on standards lighting. That is usually not a style, because even if Paramount lighting is your signature move or if you are constantly using a flesh gun, it's not recognizable enough, and many photographers works this way. So you need to include a little bit more uniqueness in your style, and I have struggled a long time identifying my style. It got even weirder when people message me to book shoots saying things like, I laugh your style Well, that was not random. Clients and models were complimenting me on something that I didn't understand myself. Well, that was weird. But can the way you do things naturally reflect a style? Yes, it can. It can invent a whole new genre off art Think painters like Dali, Picasso ovens and fun go the way they painted came naturally. I mean, I'm sure they also learned the techniques first, but how they implemented them that waas unique toe those artists they didn't think. Oh, in which style will I paint this image today? They just saw it off the concept and started painting. In this way it became a pick castle and so on. So if you struggle and identifying your style, sit back and look at your images and wonder, what do they all have in common? When I did says, I assault off my images as moody. I prefer to capture Dakhil pictures and stories. It waas less high key, not a lot off smiling models. And then I worried that my style was to a more or grungy. But that wasn't the right definition. And when I looked further into the images, I noticed I used a lot off both colors and contrast, and I love to show women in a different way than the everyday self. And from this I developed a slogan. Color contrast. Confidence be different, be eye catching. And I recommend that you work on a similar statement not only as an advertising for your clients, but for yourself, because once you recognize your natural diet, you don't wanna stray away from it. So if Salvador Dali painted like it was natural for him, for one day and try to copy Picasso or one goes the next day then and wouldn't have bean Hiss style anymore. And that doesn't mean that you cannot improve progress. There are always new technologies, and you also need to go with the times and friends looks and likings that change. But it's possible you can improve within your style. So in my case, my images were not just strong and color. In contrast, they looked cinematic, and I don't say that to Breck. Wow, my pictures. They are really awesome, so cinematic. But maybe you look at them thinking, Oh, this is a little extreme. I like it more soft and natural, and that's fine to me. My cinematic style comes naturally. Yeah, because that's where I draw all my inspiration from movies and T visuals. I live analyzing them and trying to understand how the producers and directors achieved a specific result. And then I see if it's possible for me to create something similar but was out a $1,000,000 budget. So it comes naturally to me because ever since I can remember, I laughed films and as I go to my age, they would hang up posters. It was boy bands, and I would ask our local video store if movie posed us. We're not needed anymore. And I would collect postcards with iconic motor of such as Marilyn Monroe, Hitchcock, James Dean and so on. And I was too young, really to watch any off those movies, or if I were allowed, I wouldn't even understand them. But the at work, the feel and the flare, that's what fascinated me. So maybe you already know your style, or hopefully matavz could help you to find it and ask yourself, Where do you draw your inspiration from your cycle? Being overall, big production, like great sets on lots off props or style models, are a unique shooting angle or viewpoint, a warm color, a particular composition. If you need further inspiration in the next section, you will find a few photographers who define their photography through their use off stylistic element. 18. Inspiring Photographers: inspiring photographers and their use off stylistic elements. J kicks stylistic element. Choice off lens and gel lighting effect. Extreme color and contrast, sometimes dreamlike due to lens babies out of focus effects. J cakes and Hansel sees elements further in postproduction slogan specialising in keeping the skin Ends a camera not just on the screen. Brooke shading stylistic element composition and photo shop effect. Composites that bring stories about struggle alive and Brooke shading laughs, dark and visual storytelling. It's all about the who in her stories For that who is even placed bang in the middle. Full I composition quote. There's something about the hand for the place exploration that's always been the most important to me. The photography is almost second. Robert Harrington Statistic Element. Paramount Lighting. Black and white Conversion Choice. Off model and props. Effect Resembling the forties glamour era Golden Age of Hollywood Rankin Founder Off Days and confusion and hunger, mega zin stylistic element. Posing and contrast Effect provocative fashion quote. I think if you don't love people and on fascinated by them, you'll never succeed as a portrait photographer because your pictures will look Cort Calvin Hollywood stylistic element. Calvin Hollywood is a German photo shop, Atis Effect Portrait's who look like paintings. HD our all cinematic. His Logan Very pool photo coffees Roof is terrified, meaning If you are searching for pure photography, I am not the guy for you. Mary Ellen Mark Stylistic element. Dramatic, provocative photo. Journalistic stories affect emotions, empathy or specific feelings to intrigue the viewer. Quote. Finding the right subject and see hottest pot. There might be many more style that resemble your favorite photographer or statistic elements. Just make sure that you implement a new concept in a way that you don't look like a whole new photographer. There is an accident tutorial on YouTube by Robert Harrington for being age, photo and video called the Forties Glamour portray. And Robert Herrington says that he loves the look off the lights from backs in but copies of style with speed lights because that's the thing. And I think his portrait it's really nailed the old school style while feeling timeless and modern. So look at your portfolio to identify your style or have fun exploring 19. Ingredient No 2: Intro To Posing: all right if you sought man. There is a lot to learn about story and style. Well was pausing. It's even more fun in this course. I cannot go into all the details but the ones I feel more strongly about, and we will cover a lot of scenarios. So if you want to know if more details, I recommend to check out our causes posing like a pro part one. What you can see behind me. That's the book posing like a pro or part tour, where you see the posing floor and they're all available on your Imean scale chair. If you watch those tutorials already, then don't worry. Disposing part will not be boring as I recover new positions to. When I wrote the book posing like a pro, I thought 200 pages would go into enough detail to describe every single pose and to cover a lot off different flattering angles. Yet I get a lot off messages off students asking me if I were created more posing box or costs us. So here comes a new chapter, so to speak, because posing was the next most significant fear factor for a lot off my workshop attendees. I told them how to tell a story or how to design a concept, but they knew wrong. Polls could make a heartbreak and image. It could enhance order structure carefully Planned idea. You can fail in a lot of other stylistic elements. You can have the wrong composition, awful postproduction under exposure or super weird lighting. Yet you will always be able to excuse yourself by saying it was intended Lexus. But after all, it's subjective. It's like food, right? You can prepare the lasagna without pastor sheets or tomatoes or meat or back home l sauce and people will not only believe you that it was intended to be prepared Lexus but congratulate you for your boys diet and for taking the risk off, trying something new and unique. But it still needs to make sense and come together somehow. Otherwise, it's easier not lasagna or becomes a blend mess. Same was posing. It needs to take form in some way. As I wise, it's like throwing all ingredients into a bowl and hoping that the dish comes out. Maybe you are lucky and the endeavor, but most likely it's not very delicious. If the model our client feels awkwardly posed in an image or things. That nose looks huge. Well, then, your whole concept style or post production will not help. You cannot excuse posing problems with your artistic vision or Boyd style. Somebody who thinks I look fat or on proportioned. That's just unflattering picture. Overall, I will dig into the right poses in the next section to pose or not to post. First of all, if you are still inclined to say, Do I really need to learn about posing? Can the model our client not do their own thing? It looks so great when people are just themselves posing looks so fake. Well, then you're not doing it right. And you're certainly don't do what we talked about. Meaning. What can you offer to your model that make them look like a $1,000,000? So to pose are not suppose that's almost never a question. In my workshops, photographers often asked me, Do you post your moderates eyes a time dozen posing. Look natural. Why don't you let the model just do his or her own thing? And the answers were, Do you pose the models all the time? Yes, doesn't posing look unnatural. Know? Why don't you let a model just to his or her own thing? Because mostly it looks stupid and wastes time. Yeah, I know it sounds a little bit harsh, so let me dive deeper into the topic on why I think posing. Is that necessary? 20. Everybody Can Look Like A Model: When I'm talking about the model, I mean everybody who steps in front of my camera from a pro model to a newbie, modern toe, a friend or a client, I could say my subject, which also includes everybody. However, subject sounds or lifeless I saw who wouldn't prefer to be called a model over a subject. But most importantly, if I have done my drop right, then you won't know the difference. That's a photo show, a seasoned pro model or somebody who has no experience whatsoever. Well, that's my secret. And it could be your secret tour as long as you animate your model with the right poses for your style or your storytelling. And third person shouldn't be able to tell the difference. The key word here is animation. If you think that posing sounds fake or stiff, then use a word animation instead of posing. Think off animating the body. This side process in itself sounds better than being a poser, animations or just a particular floor. Although it's just another word for the same thing, it makes a big difference. While I was teaching a workshop on portraiture, I noticed that the attending photographers would run out of ideas very quickly. After a couple of minutes, I didn't really know what to do with the moderate. So nine times out of 10 we had the following scenario Student talking to the modern Do this to something completely different. Okay, let's go somewhere else. And I would say it was a student. Why don't you find tunes? Oppose our development, Father. And the student would say, Well, I don't know how I ran out of ideas very quickly. It changed when I asked the photographers not to pose, but toe animate the moderns. That and it got even better when I asked them not to animate the whole body, but only parts. At one point, the students were only allowed to change the position off the models, hands and nothing else. Everybody was really surprised. How many different poses were possible was just one simple movement off the hand 21. Breaking Down Poses Like A Telephone Number: There is an excellent tutorial on YouTube recorded by being H audio. It's called Posing Everyone, and Jerry Jones talks about the same issue off avoiding toe. Get stuck. Imposing his advice. Treat opposed. Like a telephone number, each phone number has only seven digits, but there are many available phone numbers due to the variety off combinations. The system works similarly with the body. Feet could be number one and can be changed in many ways, while 23456 and seven stays the same, which could be translated toe to legs, three back for shoulders, five arms, six head and seven facial expressions, for example. So break it down and think about the animation off all those numbers, meaning body parts. Not like a puppet on strings. The Modern should do natural things as crossing the legs. Hands on hips are crossed, arms till things airheads small expressions like a little smile or being serious. Once the photographers off our workshops understood that the animation off the body meant to direct a significant variation off body parts, they never got stuck. There are so many things a model or client can do with their arms, Alexa hair and so on. So in theory, it's difficult to run out of ideas. However, it's up to you as a photographer toe. Analyze which moves might work for a model in which don't and sometimes the fine tuning is what makes or breaks and image. And how can you find you in an image? Well, that's where your communication comes into play. Your communications skills are essential. Usually, you shouldn't touch your clients. The best communication is done verbally demonstrates the post so that your client can copy or mirror it. If they don't understand the post at all, ask them if it's okay to touch their hands. If they say yes, shift them into place where touching onto their hands and explain all the time what you are doing and why. For example, sometimes clients don't understand how to push their hips back. In this case, you can ask the model to put a hand on her hip and then ask if it's OK to touch the hand. If she says yes, then you can push gently onto the hand, the one that's position on the hip and why doing so? It was a model. We pushed her hip back automatically, and this form off touched is much more polite and won't come across as creepy, or at least not in our Western culture. Shaking hands is common. Most likely, we don't fear conscious about this body parts but being touched on the hip pelvis area that would be considered to intimate. So please avoid touching these areas. Reassure your model that even if suppose fields and natural, it's not many body positions for your nowadays unnatural tau us simply because we aren't used to them. For example, standing up straight. Look at people who are working on laptops or checking them over phones a lot. Their neck becomes rounded and assured us become really tense and putting them back into the right position feels weird now. But the better polls would be to push the neck back and to bring the shoulders down. What this way as opposed looks more relaxed instead, off tens or ever, often better Posture hurts us because our masters I need to work differently than they are usedto. Although it feels weird, it looks better. So the point is, it's not supposed to look posed at oil, but to accentuate the modern body and curves. So so you are directing skills. You can shapes the body off your client to look Senna and more attractive. And that's what it's all about, isn't it? While explaining your methods and reassuring that it won't look posed, your client will relax and you will achieve both goals. A slim looking body and a natural lifestyle. Feitian Expressions. You want your client to be happy and relaxed. Why are they are looking like a better version off themselves? Potentially, your direction should make oil your models look like a pro model. However, the moment you stop the instruction or tell your model just to your own thing, everybody will know your model wasn't a pro and worse, you and a pro easa. Why? Because there is a massive difference between a great snapshot and the great portray. Let's dive into that 22. Snap Shot vs Great Shot: problem Number one the wrong timing. My husband can take 100 spontaneous images off me and maybe once in a while there is one that I actually like. But most off the time. I am looking at the pictures and say things like that here. Lean too forward and I look fat Or here as room. I had a bag and I'm laughing like I looked like a maniac are here. My nose looks you, which we're cutting through my cheek and so on. It would be so much more straightforward. And somebody just tells me, Do this toe that boom, bang, flattering image each time and no over shooting either. Instead off taking 100 Medio Kerr pictures to create a few good ones. Just take a few, which are fantastic and beat them. That's shooting this post production sorting. No time wasted. Problem, too, can that versus professional photography. Like I said, once in the wire, there is a candid, non animated picture off me that I like so at how last vacation my husband took a snap where I'm giggling like crazy, and every time I look at that picture, I have to laugh again because A. It reminds me off, So fun situation and B because it's so me just being silly. And while I laughs, is shot. This is nothing that I would want from a professional photographer. I mean, sure, he or she can show me a few candid images, but your model, our client pays the big backs to look beautiful and timeless, not goofing around, and especially if they find they look silly. And don't forget, said hardcore laughing often creates double agents. This could potentially ruins the shoot. It will make a newbie modern, more self aware and stuff, and especially if you show such images during the shoot, you might think, Oh, we looked through the images and then we can work it out together and I can only advise. Don't don't do this. There is an enormous potential that ugly images were crushed. Any confidence and the model will feel awful as a photographer. It is your job to make the model feel like a 1,000,000 bucks. It's not their job to figure it out. This you, it's your job. So is the reason why I feel so strongly about this is that whenever I need a cricket trim off my bangs. I usually just go to the cheap hat tricks around the corner and everything. Time they asked me, Do you mean you want to have your bank's trump like this? And after they finished, they will ask. This is OK and everything in a time. I'm thinking it's your job to cut here. How am I supposed to know if it's OK? But when I go to my regular professional hairdresser, these conversations never happen. I tell them what I once it cuts the hair that dry it, I pay. I walk out. The procedure off course doesn't mean that you cannot collaborate. When I'm at my regular had dress. I also show them pictures and we talk about the things that I like. But then they just do it, and this should apply to you in regards to your modern, a swell so you can talk about the ideas off your model and collaborate, but at the end, you as a pro. There are only two exceptions. Which brings us to problem three direction when and not to direct your model. So there are two scenarios when not to pose. You are a photographer who was doing real photojournalism like wedding photo journalism, for example, Or you are a photographer who was doing portray or fashion photography was pro models. Let's dive into these and aerials. 23. Wedding Photojournalism: There are many photographers out there who think they have shooting for two journalistic when in reality they are just snapping away. They believe they're capturing the field off the event and excuse their pictures with. It's not about life being perfect. My photography shows the rear deal actually cries and all, if the images come out to crappy off with posers and under exposed lighting. Then such photographers were convert these pictures into black and white and convince our clients look at these beautiful emotions and timeless looking images. I'm sure you have seen such pictures before. Those photographers create sad wolf stories but believe raw emotions Where, why was a bride and groom? No, they don't. Do you believe that somebody who spent a fortune on a wedding wants tohave unflattering images? The moment of bright jumps into the expense of wedding gown, while hair and makeup artist turn her into this pure perfection. She wants to look and be treated like a princess for the day. Your images have to capture and reflect that with the right style and with the right poses . Unless you have the skills off real wedding photo journalism for this, you need to be incredibly skilled, you need to press the shutter at the exact right time to tell the best and in this case, the most flattering and romantic story without posing a thing. It takes patients observation and lots and lots off embassy to capture somebody. At their best moment, you need to step away from making it about you and start making it about what's in front off your lens, observing the moment when the model or story looks the most beautiful in all off my years off attending weddings events are just being out in public. I think this happened exactly twice to me, like two times when I didn't know I was being photographed, but I laughed the picture. All of the other times the photographs are visa and flattering or just buried Dow. So that's why real wedding or event photojournalism needs photographers with superpower skills. Shooting somebody at the right moment at the right time needs the power off observation and empathy. And if you have such talent, then great, keep doing what you're doing. Tell your stories without posing your models. But for anybody else, posing is your friend, not your enemy, and I know that posing always sounds so fake and lets the model do what she wants to do. That sounds so much more real or fun on natural, but it's like calling yourself a natural light photographer just because strop's or flesh guns scare you, learn everything there is to know about photography so that you can embrace all these opportunities to tell your best story and knows the rules, then break thin. 24. Professional Models: I only allow pro model. It's to do her own. Posing pro doesn't necessarily mean agent represented or paid, but it was somebody who knows their body and angles exceptionally well, and the model does modeling for a long time. In fact, they are doing it for so long that they designed a whole flow off poses. If you want to see a real pro, check out Coco Russia on YouTube. She poses extremely fast the reason why I wouldn't interrupt such a person. ISS. They become puzzled. They are so used to pose a certain way and know exactly what works best. If you the steps that process, that expression might go blank and it can take them a while to reset off course. You can still collaborate and say, Hey, is this supposed looked really cool? Do you mind to go back into it? But this time, maybe was a different expression or hand position or something exists, and this way you can work it out together, but usually was a pro model. I indeed just let them do their own thing and observes the floor while shooting away. But these cases are rare, most off the time I photographed models who have minimal experience at the beginning. Off the short, I would still ask them, Do you feel confident and doing your own posers? Are you like me to guide you so I don't come across as bossy or condescending? And most models are immediately relieved that I offer to pose them the ones who think they can do their own flow. Usually they ran out of ideas after a couple of minutes, and then I ever jump in and say, Hey, how about we try it this way? And then I guide them so opposes from there. So in conclusion, even if the lighting, the exposure and everything else is excellent, freestyle posing looks rarely great in portraiture. Sure, you can shoot for a few hours, and now and then you will get a beautiful image. But who has the time for that? Plus, it's your job as a photographer to First of all, know what story you want to tell and second off all show your skill set, making your model feel confident and beautiful while working in an efficient posing floor that needs to be part off your skits. So let's dive into it in the next section 25. Posing Like A Pro: first of all, why do people hate being photographed? And why do your shots turn out in consistently without posing? Because, as we said, most snapshots are unflattering. On this image, you can see how easy it is to flatter somebody with the better polls by just turning the body to the side. These photos are not manipulated. They were taken one after the other image for 996 is a test shot, I said to the model. Just end therefore moment and just checking the lighting. And naturally, the model doesn't look relaxed or animated. Her hand on her cheek looks like she has a toothache, and her arm looks enormous. It's to squeeze toe watch her body, plus a full frontal position is and flattering for most people, unless the model is very, very skinny. Otherwise, you need to shape their body in one way or the other in an unrelated position. Models also tend to lean away from the camera. It's, ah, psychological and unconscious reaction like I'm leaning away because I'm uncomfortable and I don't want to be photographed. Leaning backward means her belly pushes out towards the camera, which makes us sweat us like upwards and nearly gives the impression that this shoot is about her pregnancy. Awkward because she's not pregnant and lastly, her facial expression, she looks fearful and worried. So the only thing I had said for image for 997 is okay, lights, a great let's start the session turned to the side and put your hands on your hips. So immediately she looks more like a real itself, a model who has a great body and waistline. I didn't correct anything else at this point, so I could illustrate what we said about the phone number theory. Small changes, one digit at a time and significant results. So here you can see having a gap between the body and the arm is always lettering. So is turning to the site, but her facial expression that is the tens. That's because I go into each position step by step. I work through a flow off posers, but not too quickly. I don't want to overwhelm my model, so I know when you direct somebody to put their hands on the hips. It's quite normal that they do so by pulling upset shoulders. Those motion creates tension. Her expression reflects that in the next step, I would say Now relax your shoulders And hopefully, at one point I would also ask her to take off the hair tie from her wrist, one off the most overlooked details. I hate hair ties on wrists as they leave a mark on the modern skin even a few minutes after taking it off. So the sooner used by such issues is the better. In our MBI in section, we will talk more about paying attention to those details, but back to our 10th shoulder problem, or is it a problem? We will discuss posing shoulders a little bit more in depth later, but so now Shorter's one of the most critical parts for body language. Their position shows of you are housing modern fields. Or how was a photographer once the viewer to feel about the modern? There's a funny scene in the comedy show How I Met Your Mother Season two Episode seven Swallow A Were Ted wonders why Marshall didn't get a date with a girl, and Ted says, you gave us a look right head down, eyes looking up, hands in pockets showed us up, had slightly too little, conveying shy vulnerability, this little scene of an excellent example of how we can use our body language to manipulate our counterpart or viewer. While here we don't want the viewer to date the model, but we want that our viewer sees the model in a certain way, fitting to our story. So, for example, we want our fictitious who to come across as believable. For example, if you create a spooky scenery, the model shoulders needs to be tensed because if they do, everything else falls into place. The rest off the body and facial expressions are stiff and anxious. Tool. So now imagine you went through all the work setting up a thrilling or spooky scene was props and lighting or gels or smoke machine. And then the model looks, relax and smiles. It just wouldn't look right. So, depending on your story, tension can be necessary. Tension and photography in general is a big subject I could probably write and as opposing look about it. But for now, let's discuss the most critical points 26. Body Tension: body off. Facial tension in general isn't good or bad. It purely depends on your story. If your story is suspenseful, your modern needs to look tense. But often it also used as a stylistic component for fashion photography. I call it such posing pain, pausing the model Critz, un relaxed body angers and pose also exaggerated that it looks like they're in pain. The shoulders are often around for what was leaning extremely backward, and everything they do that looks exciting and edgy and laughing or relaxed. Expression wouldn't really work because this would be considered lifestyle, not high fashion, So the expression needs to be equally tense. I wouldn't recommend the sarcastic portraiture, but in fashion everything goes looking aghast or sad or pissed off a resting bitch face miles an eyes wide open hands pressing on bellies. Or as our body parts like they're in pain, pulling the hair. Such things. They work well in high fashion. When I look at images off the model Coco Russia, I think she's holding her breasts in her adverts. If I were her photographer, I would want to shake her, were saying, freeze cocoa, breathe. But then she would probably look to relax and image would turn out less interesting. So some fashion needs to be presented in this edgy way or by tense looking models and being interesting that sets Moors and being normal. We often complain that the fashion industry is so vain and superficial, the only one young, skinny and super sexy model It's and that's the true. But that no longer means just pretty. Just pretty means blend and blend doesn't sell intriguing and weird, maybe even controversial. Anything goes these days in the Hope off, a viral video or advertisement, but the fashion needs to be a significant aspect. Otherwise, again, the viewer wouldn't believe it. If you look at image for 97 what you believe me? If I told you I directed the model to have this expression, she was supposed to look so moved. Most likely you wouldn't believe me, and you shouldn't because there is nothing in the image that would suggest such an expression. Her closes are not profession. There are portraiture. In other words, they have to normal. But imagine now that she was wearing a negligee J or some sexy affection. All of a sudden, the moderates raised shoulder and expression could come across as a little solitary. You might even see a seductive little smirk on her facial expression. And now imagine her and 30 rip clothes the picture converted to black and white. Now you're back to this had Wolf Story. Now you know why he spent all the time in the beginning about storytelling? Because in the end, it all comes back toe. What do you want to achieve with you? Who? Where, when, Why and what off your story? All right, so now that this came for circa, let's dive into flattering poses for each body part, I will address mostly posing for female models. But lots off, the things are applicable for men as well. 27. Feet: great body animations that with the position off the feet the reason for this. If you tell your model to turn one way or the other, they only turn their body but not their feet, and eventually they will drift back into their original position. So it plays the feet first, even when they're hidden under a gown, and you cannot see them because this will create. A slim figure tells the model to have all the weight on the back foot. Why being turned sideways? The front foot is just a show foot. There's no weight on it. This creates an L shape. Was the feet in this way is a hip movie pushed back and recreate. Is lim a shape? You can exaggerate this even more by having the models pushing the hip even further back and leaning the upper body towards the camera. And the less hips and belly is, the camera sees the slimmer it looks, and as a note, a female model should always wear high. Here's this way, it along its legs and they appear more torrent, and it's not just slimming, but it also enhances the posture off the body. The exception don't force a model into high. Here's when it doesn't fit with your story. So, for example, if you're shooting a romantic look on a feared or a beach, then barefoot works best. Nobody would stroll along the beach in the shoes, especially not high heels. And for more toned legs, the model could be on her tiptoes. Why playing? Kicking the water waas hand. Or she could raise one leg up to bring more shape into her body. Have a look at advertisements by the female razor company Venus. Their focus. Beautiful legs to sell the product while showing happy lives that campaigns that sell a story. So the advertisements are mostly shot on the beach or buy a pool and feature oil sorts off body shapes and model types. So studies them and you will get a great idea about legs. 28. Leg Rule Number 1: Define The Right Angle: the style offshoot and the body off the model that dictates the angle off shooting. And it's up to you to decide if you want to emphasize your models legs. So fashion is usually shot in a way that the photographer lost himself or herself toe elongate the models legs When shooting from a lower position, the legs appear much longer, which is perfect when your models assets are her legs. But in regular portraiture, you want to shoot on eye level as you don't want to distort the model's body. You also don't want to distract from the model's face unless she or he wants to emphasize a different part off the body. So it was curving models. You might want to focus even less on their body and legs, as this might make that more self conscious, especially if they consider these parts as choppy. So photograph curvy model. It's a tiny bit from above or have been sitting down for the most flattering compression off their body. Don't forget. Body parts closest to the lens look larger than life. Be especially careful when using a wide angle lens, it will widen and in large body parts further you can see for shortening and compression as a problem, but you can also use it to your advantage. For example, when shooting a curving model a little bit from above, you were compressed their body and we're sad you, its limbs, a model. Now, if you use a wider lens of 35 millimeter, for example, then you might widen their face a little bit. But their body will look even slimmer in comparison. It depends on your evaluation off the model. If she has a very full faith, then don't widen it even closer. It was a white and a lens, But if it's a slim phase and she's only a little bit insecure off little belly, then a wide lands that might play in your favor. Of course, there are so many things and motor can do with legs that can be kicking, and they can do all sorts of shapes butt to slim them. Two things are essential, and female posing is a turned the motor to the site and leave a gap between the legs so that they appear Sina all I have some modern across the legs to achieve an hourglass shape off the body. If you're screwed front 29. Male Posing: while a woman wants to be pretty and glamorous, a guy wants to look handsome and cool. And although a man also doesn't want to look fat in his pictures, I'm not as worried about making him slimmer. I think more about making him appear more muscular. How often turned women more sideways to the camera, but men can be posed sideways or front remembers a rule. If you want toe, emphasize something, push it towards the camera if you wish to de emphasize, push it away While a woman s more shaped like an hourglass breast and tips and looks great animated in an ESC off, most guys are more shaped like a V, their legs and hips A slim and the upper body is wide and masculine. To emphasize us, the male model should lead the upper body slightly forward when standing or sitting toe appear more masculine. So it's a secret. Off is considered a more masculine pose as it looks natural for a man to lean into our over something like over a chair. For example, while enhancing the physic don't have a guy standing with legs close together, it looks unbalanced, as if he would fall over at any time, direct him into a relaxed stands as if you're standing at a bar so it looks and feels tens when the weight is equally on both legs and even muscle. When the legs are close together, have the model shift his weight onto the back or the front foot. It can also look good if one foot crosses over. The Azza was one soul visible in sitting positions. Don't have some more across the legs. That's a knee because head looks feminine instead that can prop one ankle up on the other knee. 30. Leg Rule Number 2: Don't Make It Fleshy: next. Hands and the neck are often the parts off a body to make a model appear graceful or not. So let's talk about elegant female legs in standing. We just talked about the position off the field and wearing high. Here's so this helps and general, to make legs more classy and graceful. But what about sitting positions? Never have anybody's it on the fleshy part. If you tell an inexperienced model or client to sit down, they will sit on a chair is over watching TV. As you can imagine, this is not flattering. It squeezes flesh and makes legs look bigger and creates uneven skin, even in moderates was no satellite. Also, if the model things into the chair, it means her upper body is further away than her legs, and her legs will appear more prominent again. The four shortening effect. If you look at this picture, the modern knows how to sit down elegantly. She sits on her hip rather than on her behind, and it's flattering to see the body from the site. Also, her right elbow and legs are on the same plane with just great, if you are shooting was a shallow depth of field. Keep in mind that when you sit somebody down in front position, the camera sees the legs first. Not only were they appear larger due to the cameras for shortening problem, but also the model's head is not further away. Not so much a problem if you're shooting with a small aperture, but if you want to shoot, wasn F 1.42 F 5.6 in low light or because he likes the shallow depths off your defect. Now you will have a problem focusing on the eyes or if you manage to focus on them. You. What's Rosa foreground? Out of focus, meaning your clients legs will be blurry so potentially that could be a distraction in the image. And remember, you always want to ask yourself, isn't attraction or a distraction? It all depends, but the possibility is that your client asked who, why I'm Alexa blurry to avoid this problem. Keeping oil joints and body parts on one plane is idea, by the way, the same rules apply When posing a group of people. Oil faces should be on one plane so that everybody's eyes are in focus. It works well If you are saying something like this, imagine you all a press. Your nose is against the same window, and this way you don't have to worry that people in the front or in the bag info calls or out of focus. And you can shoot with reasonable aperture off eight, for example, and not F 22. So another tip for sitting positions. The straight bag is essential for flattering posture, so a straighter back looks more glamorous and slimmer than 100 back. And that's for standing and sitting positions. It was a model on the previous page. She gives shape to the body because her back a straight and forward creating a waistline, her arms create a nice s line. But be careful when the model Weir's address. You never want to place a model in a position where your photograph in tow her groin area. If you do her pent if might be visible and if she doesn't wear any well, then you have probably a basic instinct experience, and you also probably shooting a very different genre of photography. So behave in the next section we will have a closer look at no nos and when you are allowed to photograph a little bit more saucy 31. Leg Rule Number 3: Keep It Classy: Yes, we said, Keep it classy and portraiture no spread. Eagle and no other entertainment also know crouching down positions. I cannot believe I even need to say that it didn't even a cure to me when I was writing the book posing like a pro but recently has on instagram image by one off my former rush up attendees. Where the model was positioned in a crouching down position, I nearly fainted. I mean, just kidding, But this was so unflattering for the model, and I'm not talking here about a cool one leg sideways, crouching the Trinity dust in the movies of Matrix that looks flattering and acrobatic if you choose to pose amount. Alexis. It's quite an extreme post, but could work for fashion or cinematic posing because it can be flattering. Chose the length off the leg. It looks every elegant and cool, but here I'm talking about the kindof crouching that looks like you're on a camping trip and need to do your business in the bushes. So please never direct any other model, male or female to crouch down in that way. So the exception toddlers. They tend to sit like this naturally when playing. They still have some flexibility in the legs and groins. Others don't. So if the post doesn't look extremely a metric school, it just looks awkward because it's such an uncomfortable position that there's only one reason why you would put yourself into it. That's when nature is calling. But enough off the awkward subject. We're talking here about legs, and there is another reason why not. To crouch down with selects close together. We said that Lex could make a person look elegant, but in this position, you don't see it selects correctly, so the viewer doesn't see the shape off the length, which means such a position will always look short and stumpy and slouchy. So the exception the model has may be very, very long legs or wears a specific fashion, or the story needs this pose for some reason. Otherwise, just don't, especially when you're shooting in the bushy outside environment. It creates the wrong visual to your viewer. 32. Leg Rule Number 4: Guide The Viewer To The Right Part Of Your Image: last, but not least kneeling and lying down positions, another tricky one, as you potentially also shorten the legs. Kneeling positions are less done in portraiture, but in fashion specifically in sexy bikini shoots, those are often shot at the beach. And if the model we're standing, then the photographer would fight was two problems. A. It's difficult to find a great anger. You never want any horizon line going through the model's head and b the bikini story. Women who wear a bikini on the beach? Well, most likely they don't plan on just standing there, so either they want swim or some base and story wise, it makes sense to have some order in or close to the water. But you can have some swim or laying down as this will limit your posing variety. And it limits visibility off the items that you wanna sell. So water and reflections that can make it difficult to see the color in the shape of the bikini and also, when rolling around in the sense, then the sand sticks to the model skin or outfit and potentially could create a distraction or make it really difficult to see the items features, so kneeling works well and the scent of soft so it doesn't really hurt. The moderates needs toe near on the sand for a little while. So now she is close enough to the water and the story off we're ing a bikini makes ends. Why not just lying there like suddenly lobster? So, of course, you can do these poses to, but then it might be more editorial and sexy was wild, so I would water hair and fend on skin. It could still be on brand, and you can create brand awareness thing off Victoria secret models for looking into offend or swimming in the pool. But it will be less about selling specific garments if your viewer can season well enough also, as it is about the bikini top and panties next arm or off a distraction. So kneeling creates a compact post where you can guides the viewer to the right area, and there is a saying in photography. So the eyes off the viewer they go from doc toe bright from less saturated, too saturated and from soft to sharp. And that's how we control our image and manipulates the viewer to look at the right place. So hence Israel busy backgrounds out of focus, and therefore they're less noticeable. In this way, the viewers eyes can views the image from soft to shop and land their attention onto your model. So there is an issues. Oh, when the viewer is looking at too much skin off course, we say sex sells meaning, showing some skin a sexy and helps to sell our products. But if we want to guy, it's the viewers through the image, too much skin that can be a problem. So, for example, if a Caucasian model is wearing a product like a bikini or a bathing suit, the viewers eyes would bounce around on the brighter part off the image, like Alexa size a body her face before even noticing the fashion. That's why such a modern gets usually a good spread 10 because and their skin is toned and then less destructive. So if you ask if white skin is a problem, why don't you cast models with darker skin tones, then the viewers I should go immediately to the fashion right? Well, no, dark askin is not just dark. There are a lot off red and bronze tones in it. And with that, a lot off saturated colors in short, beautiful doc or attend skin might even be more interesting to look at them. The bathing suit it always sounds mean to say, but infection. The attention is not about the model. It should be about the items. We want sexy models to show the governments, but we don't want to distract from them. So how do we pose the modern toe, not compete with the items? You can show less flesh by having her kneeling, so the viewers eyes are supposed to go to the groin and breast area. This is the area where we want to sell the company's items and similar to underwear advertising here's opposing can be a little bit more saucy. The legs are a little bit spread to slims, the mother and again. A gap between the legs helps to send the model, but by doing so, it also becomes more sexy and maybe more provocative and reset. Don't do any spread eager positions, and usually you don't want to look into your moderates groin area. But selling bikinis or underwear he is. The industry often poses a little bit more seductive, but there are two things to keep in mind. Let's talk about those 33. Leg Rule Number 5: Bring The Legs And Body Into The Right Angle: number one. The legs need to be in an anger, and I need to be fully visible if you should front, it could appear a CIF The modest leg stops with her knees and if she had no chins, so this position look stumpy and not flattering. You still want to show the full length off her legs even when the model is kneeling. The same goes for the flamingo stands. I often say photos off women leaning against the wall and having one leg raised. If you're shooting front again, you won't see the chin off the leg. It appears that it ends at the knee, so even shoot from an anger or turn your model into an anger position. Number two, The position off the model's arms need to pee elegance. I recently saw an image, whereas a modern neared in a bikini on the beach, and she had her hands straight in the air and one viewer commented, It looks like she wants to be sexy while being robbed at gunpoint. Like somebody said, Hands up a shoot. So, yeah, don't pose arms like that. You will have a similar problem when doing the lying down pauses precisely the model on belly pose. If the model is post funder with selects down, the legs are invisible to the viewer. It will look like the model has openly in upper body and the lower body. It doesn't exist from here, it could become even worse. The model could put her legs up and crosses and behind her head, and now it looks as if she had money. Years, the legs appear to grow out off the moderates head. So these poses. They're quite popular with couples and families on the floor, and I'm not a huge fan off these poses on unless you're subject us maybe 12 years or under . But some Klein's like it. So here is how to solve these issues efficiently. Turn your model or, if it's a family, a little bit more sideways, so more off the legs are visible this way. It doesn't appear so if they don't have any lower body, when the legs on the floor and the legs don't stick out off your models head when crossing them, and as a note when you place a woman with a bigger passed on her belly, be careful that it doesn't look weird when gravity gets hold off them, meaning women with bigger breath. I'd look awkward on the Tommy when the breasts fall onto the floor and look squeezed. Pose a woman was for the breast standing or sitting in a way that their breasts look supported. Was anybody part? Always ask yourself, Doesn't look graceful and elegant does it helps the story and that's not, did you suppose? 34. Back, Core And Shoulders: the posture off the model is what makes or breaks and image. You can achieve the most slimming effect by telling your model to imagine that there is a hook in her head on. This is a string that pulls to the ceiling. So this way your model stands or sits perfectly straight, and this usually looks the most flattering. One exception. Fashion megaphones. With a young audience like Teen Vogue on Island, they tend to break this rule and their places rebellious, cut their models a slouch and have hunched backs to look more edgy, hip or cool. But for your general models and clients, I will play it safe half them in the best posture, which means being as straight up as possible. And as we said, the laptop and smart from generation tends to have terrible posture and sitting or standing straight. That will hurt after a while, so don't forget to tell your mater to relax in between shots. It's also important to tell you modern toe Zach in meaning to pull the belly in and to push the chest out so this posture lift her back, make her Charla and enhance her overall posture. But explain to your model why you are directing her toe back in that it's not because that she's too big, Bad said. It will enhance our posture in a test shoot. I forgot to explain this one's and the model asked me later if I thought she looked fat. I had told her all the time. So Sacha rebellion and she had a great figure, and I felt horrible that I didn't clarify this sacking in it meant great posture. In other words, deli in chest out, straight back, great posture. And it could have really harmed her self confidence like a new She brought it up and we talked about it. So once again, once you have taken the pictures, don't forget to tell your modern to relax again. Second in, get uncomfortable. Otherwise, the back can be broken down into three parts. It's an upper, middle and lower part, and all of these parts can be bend informed accordingly to achieve the best posture for your story. So the more you create a curve in the lower back like a hollow back, but without pushing the belly out forward, the better. It's going to look, so the upper back. That remains straight. But be careful that your model doesn't pull her shoulders up, and that's a look stiff. Unless you want to have those tense fashion look, tell them to roll the shoulders back and then to drop some bulls, or at least one so that it looks relaxed. This movement is essential in Partridge of because the more the modern drops, the short us, the more the neck becomes visible and looks elongated. And, as we said, the neck is another part off the body that helps the model to look elegant, The problem dropping their shoulders. It's not as easy as it sounds. It's the area where we carry a lot of tension before the up. When we're nervous or anxious or tense off, you're vulnerable. Or like Ted and how I met your mother. We pretend to be shy, and we also tend to turtle. We pull our shoulders up so that we're less visible, as if you want to crawl into our turtle house, and we also put them up when we are cold or we don't feel good, and as a result, these muscles, they become tight and the neck looks compacted and less graceful, so Italian model to drop the shoulders as much as possible and if creeping up again, tell him or her to roll them a few times back because this movement usually creates relaxation as well. 35. Elongating The Neck And Jawline: and that's a good trick toe elongate the neck and to create a strong jawline is what I call the chicken jin. A lot of people who don't like to be photographed instinctively pulled not only the body back, but also their face in. This motion creates double chins, even for very slim people. So for a great and much, it's crucial toe exaggerate a lot off poses. Otherwise it can look two dimensional. You want took for eighties distinctive features to look three dimensional, and the chin was probably one off the most important features on a person. Yeah, I know you would probably never hear a person saying this Majin book so good, but it's important how you pose it because you want to create the strong draw a line. So I always tell my clients to imagine that there are chicken. If you ever watch the chicken move, you might have noticed they stick their head out of the pull it back in, so your client doesn't have to make this park park mark Sound that the chicken us wherever your model has to stick. Section out this match as possible to a long gates jawline in this Poles creates an elongated neck, and the strong Jolin, which makes a model, appears lemma and more elegant. Then they have to lower section, so the lowering off search in brings the eyes down, and they appear much bigger, which looks more attractive. So chin forward and down. No matter what position your client is in, always have some perception forwards and down to create the best jawline unless you're shooting and curvy model. If suppose creates double chins by the models lowering her head, then I asked the modern Toby a turtle, not the chicken, not by chartering, Abbas assured us, but by copying the pose off a turtle and to raise ahead. Similarly, so this way is a model stick searching out, but by raising the chin slightly, they avoid double chins. However, warning this motion can create a different fear to the image his body language comes into play. A race chin can look like the model is arrogant or skeptical. Make sure that the facial expressions don't emphasizes bossy local signal. What you want from me or don't mess with me unless this body language fits your story. Tilting the head with soft animals, look and gives the model more approachable appearance. Head tilting is in general quite cute and looks more relaxed and natural. But be careful how you direct that. So when I say it was a model, tilt your head. They often go full until looking like Frankenstein so they can also tell toe the wrong side . So I want them to tilt towards me where the camera is just by a tiny. But if that it away from me. I see always a flesh on the face and neck, and that makes them appear fuller in the face and bigger. So I need to tell it a little bit towards me to be more precise, I will say Bring your left year a little bit to your shoulder or I were demonstrated so that I can mirror me in. All right, now that we understand how toe flat as a core, let's talk about the story that you can potentially create with different angles. Offs assured us 36. The Story Of Your Model's Shoulders: tilting the head to the lower shorter is considered a more masculine look. It symbolizes power being relaxed and in control. Tilting the head of the higher shoulder is regarded as a more feminine look can be seductive, vulnerable, flirty or shy looking. So, depending on the story you want to tell or fashion you want to sell, you can dive deeper into these subjects by focusing on the connection off the collarbone. Gin eyes Number one. If your model poses with the color born forward and the Jenin eyes turned away, then the viewer looks more at the closers. So the polls suggest that it's not about some moderate because her face is turned away and this poses often used in commercial our catalogue photography. It's not about the moderates emotion or creating intensive eye contact with the viewer. It's about selling what's on the modern so you can play with this position off course with , for example, her shoulders. If you want to sell a power suit, Hafsa model drops the shoulders and tickets ahead toe what one or the other in this position creates a powerful boss look Or, if you want to sell flirty some addresses then the Morrocan Racing Shoulder and play with it so it looks flirty and cute. But the important thing is there's no real connection to the viewer. Number two. If your model poses with the color bun shin and eyes for what, then it emphasizes that it's all about the model. Depending on the eye contact, it can produce a range off look. So from standard Hatcher toe on Intends portrait off course, it can also be fashion or editorial or a beauty shot. All of those elements toe what's the viewer means. It's more intense. Most likely the shoulders are raised or in a powerful or dominant position. Number three. If your model poses was color born to the chin and the ice away, then this combination is excellent for boudoir sessions. It's intriguing, without revealing too much, because the body is likely turned away and was that the laundry is a little bit hidden, and if there is no eye contact with the viewer, that fear, it's a bit more voyeuristic, which fits to the boudoir Styer in this position off the shore that can be from provocative toe flirty, all depending on your story. Number four. If you're modern poses with the collarbone trend away. Jenna Way I. As for what this is a great combination to create a more mysterious portrait. It nearly a fallacy idea that use, booked or caught the model doing something and was props light and the rest off the body. Posing you can and hands the story long life size if your model poses was a Taliban one way and shin and eyes the other way, like an over shoulder Glenn's. Then again, there is no connection with the viewer, so it could be a dynamic fashion polls. The model could be emotion. It could be a cinematic, our editorial story, and most likely is the shoulders are raised or asymmetric A. To enhance this mystery or dynamic. 37. Arms: If we talk about your does, we should also talk about the part where they are connecting toe arms, one off the biggest rules and animating the body. If it bends, mended any completely straight body part look stiff and unnatural. For example, if you're photographing a Bryant was evaded, then slide a little bit off fabric into a hand and then bent her arms. And this way her hands have something to do, and it looks graceful. And suppose and wardrobe complement each other. Remember when I said direct a gap between the moderates legs so they looks lemma, so the same direction also applies to the arms and the body. The more you squeeze your model's arms against her body, the bigger the whole car looks, Avoid said, and build a Gavin's. That exception. The only time when you don't want to build a get between your model's arms and her body is when you're shooting a tired headshot. So if you only focus on the head off your model, then you don't want that. The shorter's are sticking out because in a tight shot this would make your modern wider in a close up, tell your mother to squeeze Abel's against her body this way is assured. Us attacked in and appears lemma. But if you're shooting portrait and fashion, then the next step off the floor would be. If you place your models hand on her hips, she immediately creates US waistline. The polls can be exaggerated even further if the modern not only puts her hands on her waist line but pushes her hands into her waist. So this way you can create a fake waves, even for people who have a little bit more belly fat or who have a more boyish figure without a waistline. 38. Hands: we talked about the legs and neck that can help model to appear more elegance. So let's talk about hands hands one off the most problematic issues for many photographers . What to do with them when they're not holding a prop, The rule number one. Hide them when and out hide them. The model can cross her arm so they're not visible or if they're visible on top off the sleeves. Be careful that the fingers don't look like claws. Fingers should be close together to each other and the little curved so that they look gracious. You can also hide hands in pockets if you do. Hi, it's the whole hands and don't have to some hanging out this polls. I see a lot in man. If a geography and always hang, it looks a little strange when just the sum is hanging out. He's a hided entirely or instead, off using the pocket. You can also use the bed. Lubin have so some hanging there. Sometimes I also have some motive. Stick their hands in the back pocket, ruined. I'm A to avoid fake hens. Don't let the model do anything with her hands that looks unnatural. One post that newbie models often do, and they don't know how to do with their hands. So that place one or bows on the shoulder and then it just hangs there. Why would anybody have their hand rested on the shoulder? I mean, it looks very theatrical, but it's not natural at all. If the hand has to be on the shorter than try to give the hand of purpose. Perhaps it is supposed to adjust a brass drop or play with address rule number three. Avoid the bunch off banana effect. The moment you have your model rests her elbow. I'm onto something. You run into dangerous territory. The bunch of bananas effect. What does it mean? It means that all these fingers are hanging down without any engagement. So they just look like a lifeless punch off bananas. Try to avoid ease of the hold polls where this happens or have some model. Lift the fingers up. Rule number four realized the size off your hands. Look at your hands right now. Do you notice anything? No. Place them on your face. Do you know to something now? They're huge. Nearly as big as your face. Why? I could this 1000 problem. So when your model poses her forehand like back off the hand, close to her face, her hands were get as much light as her face and becomes very distracting. Remember, you always want to create features that are attractive, not distracting the viewers. I should go to the face, not to the hand off the model similar to our flesh problem. At the bikini shoot, you want to guide the viewer to the lightest, most saturated stand chapas part off the interest in your image. And then Partridge Ursus usually is a person's faith, most likely not the hand exception. If you are photographing a male model, a typical guy poses that chin on hand posed, so this position will show the back off the hand. But here, that's OK. It's part off hiss, relaxed or thoughtful story, so the site still catches the light, but you get away with it. It's considered a more masculine polls, and it fits the vibe off the guy's story, and therefore it's less distracting in the classical sense off portraiture. Women shouldn't really rested gin in the hand. It's less graceful, and in general the viewer shouldn't look at the back, off the hand, but off the side, off the hand instead. But how? Rule Number five polls hands as graciously s by Leah Hens. You want to pose hands very graceful. As you see dancers place them. You don't have to study Bali. Just bring the middle finger and some together and fulla. It looks much more elegant. Hands are after the eyes, the part off the body that communicates the most. They tell a lot about the person who awkward the person feels, or how engaged there they were. Also giveaway when opposes to fake or doesn't look natural. So if you want to look for signs in people's body language, first look at the person's short us and secondly, at their hands, rule number six Avoid close. Another tip. Hands are often visible when the moral crosses her arms or places her hands onto her hip, so make sure that the fingers together it was a smaller gap and relax and flight Rickert. Otherwise, the fingers look like claws sticking out. Also, a lot of times I see images where the hands are placed on the face. It can look romantic and sexy, but the fingers have to be soft and spread over the face. Don't push the hand onto the face because it will look like your model has a toothache. Similar toe The picture we talked about in the beginning and again, if a Benz bended this way, you can avoid awkwardly placed and stuff looking fingers. - Rule number seven. Don't break the wrists. Last very careful is at risk. Don't look broken. Sometimes when you instruct the model to put their hands into the bed, loop or pocket, they bend their hands outwards would make them look broken. So always ask yourself. Isn't an attraction? Are a distraction? Which brings us to 39. Noses: noses, noses as apart off the face where Mother Nature can be incredibly cruel. Toe white. Too long, too small croaked snap noses. It's essential that we evaluates and those before hands. So I have one friend who hates her nose and profile meaning looking to the side, and my other friend hates her nose from the front, trying to do a head shot with her. It's impossible. It's all about positioning the face to a point where the nose looks most flattering. The biggest mistake. ASEAN Portraiture. Directing the model's face so much into profile position that the nose starts to cut through the edge off the cheek, even if your client has a small nose. If you do this, the nose automatically appears larger. So how to avoid this? Number? One either showed a complete profile, so this means that there's only one eye visible and not the other one. So you don't even want to see the lashes on the other. I. Our number two If you're shooting more frontera half Samara, turn his or her head only a little bit. I always direct with my hands, so I stick one hand out and tells the trying to imagine his nose was now connected. Toe my hands. So when I move my hand, left or right, so that's his or her face. This form off direction also helps to avoid that. Your client's eyes looks all strained, which often happens when the head of turns and the photographer says, Look at me. Directing precisely was your hands also helps to avoid these creepy eyes. Often when the client is in profile position and the only tell them look away. They look so far away that the only sees a wide in their eye, which is kind of zombie esque and not very flattering. It will be as precise as you can in your direction and have some following your hands with the nose or eyes. Another point in regards toe nose is never shoot up somebody's nose. So you might think, Yeah, sure, why would I want to do that? But I see it a lot. It happens quite quickly when you're lowering yourself too much and the model raises their head at the same time you are when your model is lying down on her back and new position herself at your feet, then automatically you will be shooting upwards, and you will not only make her legs look bigger and had smaller, which was unflattering. But more importantly, you will should up her nose. So reposition yourself to shoot on eye level. These as the most essential fun facts imposing. And if you want to learn even more about the subject than please check out posing like a pro for more tips on posing facial expressions, eyes, hair, curvy models are male models imposing like a pro part one. You were not only learned the Siri, but it also comes with our 200 pages. Pdf. And if you want to see a whole flow off poses and styles, then I recommend posing like a pro power to, because here you will get a peek into our studio and watch life demonstrations are. If you would like everything you have done this far and have any specific questions about closing, then please join our Facebook group posing like a pro. We're there for you, and we would love to see your images 40. Ingredient Number 3: Exposure: What is the right exposure? You might wonder why I'm not talking about lighting Massoud's first, like Ram brand or butterfly lighting. But exposure there is an accident saying. By Mark Klegon. Found off, See Photographer Academy in History tutorial. He often refers to this rule natural life before Reflektor Reflektor before flesh and flesh as the last resort, especially when starting and photography. Adding any technical element was a mix. Well, that complicates things. I am sure that lots off you would scream now, but I'm the studio photographer or strop's, and flesh is That's my style, and that's fine. I laugh at official and off camera flash lighting, too. Nothing wrong with that. But it's true. It does complicate sings, as was any technical equipment they can malfunction, like and break or might require an assistant for the best result. If you can get amazing out camps was out. Such complications, while fully relying on yourself, was outs and need often assistance. That sounds pretty great to me. So as a challenge at your next shoot, I want you to think about the right exposure for your story before you are immediately saying no, he is my studio flesh F 8 125th off a second. And I have so 100 because sometimes different exposures can, at a brand new photography flow to your stories. So let's talk about how to approach the correct metering for your exposure. Exposure similar to lighting can enhance your story, but how do you analyze the right metering? What is the correct exposure when doesn't make sense? Toe overexposure image for some angelic low and when does it make sense? Toe under exposed for a moody, dramatic look. So I joined a Facebook group about photography a while ago, and one photographer brought up this discussion about exposure. So she was complaining about the trend that weddings are shot in this airy and Luminal style, which meant that the sky was blown out and the pictures were very bright. And then she said that she had learned that a professional photographer would always exposed for the sky. Everybody jumped into this discussion, agreeing that she should stick to what she had learned and that thes newbie photographers surely didn't know what they were doing. So the old school way had to be the right way, spoiling a lot there is no right or wrong use. A photographer has to make that decision. How do you want to expose you as a one telling the story? And of course it helps if you know the clients preferred style. As always, you want to check with him or her to make sure that they prefer area image over Moody A in much. Or you can also offer a variety off lighting and exposures. Then you will cover all bases. But let's start from the scratch. Let's talk about how do you meet her for your right exposure? 41. Exposure Scenario Number 1: Okay, so let's take a little bit deeper into metering. So the first scenario is a suggestion off the oil school photographer, metering for the sky. So what happens to a wedding capital or anybody? When you meet for a bright path off the image? For example, a white cloudy or foggy sky metering means the camera will try to meet your for 18% gray in your image. That's how the camera evaluates light and dark information. If you meet her father's guys, the camera things Okay. Okay. You want this area to be evaluated for 18% gray, but it's brighter than that. I need to tone it down and under exposed this area until I hit the 18% Gray Mac. But off course the camera cannot do so selectively If this guy needs to be dark, huh? A k under exposed. The image will become back her over oil. So the same thing will happen when you're metering A snowy landscape. If you leave it to your camera or your handhold meter reading, then you will end up with grace. No, not white snow because the camera things again. You want to meet up this area for 18% gray, and you will be like no camera. Snow is supposed to be white, not grey. So what happens to your couple in front? Off the brighter area, like the sky, all the snow, everything will be docker, so the people's faces, they will appear muddy as well. So to solve this problem, you can tell your camera toe overexpose is a by bracketing in automotive or apertura priority or shatter priority, or you can do it in manual and mold, but changing the F stops until you hit the right exposure for the face. So, for example, your camera or meter suggests if 8 125th off the second with Isil 100. But you can change a to F 5.6 and 1 150 off the seconds I s a 100 one stop difference off over exposure R F AIDS and one sixties off a second and Isil 100 or F eight and 125 off a second. And I saw 200. That all depends on your situation. If you prefer to stick to hire shutter speed or more depths or feared or if your camera can handle eyes old. But again, any off these Manu and modes won't change. The area of selectively increasing or decreasing the stops were reside in a brighter or attack her image. Overall, in our example, it will brighten this guy tool, and to compensate you would need to use or FC off camera flesh, or at least a reflector. Then you can keep the original DACA meter reading and pounds the light back onto the couple , and I laughed off. Camera flesh can look very dramatic and very rich and contrast plus, ah, laugh having detail in the sky. Unusually, it requires an assistant to hold the flash or reflector at the right anger, and it also takes more time to set it up and time. That's the lax, every item when shooting a wedding. 42. Exposure Scenario Number 2: it was. The second scenario is the trendsetter who should slide an area images. It's metering for the cap, its face. So what happens if you do not meet her for the brightest part off the image or the sky? But father, maybe slightly darker faces off the cup it. So the camera stared things an 18% gray. It threatens at the skin tones or the wardrobe. Items that are that has an 18% gray need to be lifted, which means again the overall image will be brighter. So it's up to you once more to evaluate this result. Your history. Graham is your best friend here. Don't trust your city. You might have changed it accidentally. It might be too bright or too dark, or it operates in an energy saving motors, meaning it's only as pride as it needs to be. But the priority is to say, if Petrie Power so the screen will give you the impression that the images to dark and then you overexpose it even further and later when you check your images and night room than your noticed Oh no, I did blow out my sky just as the old school photographer predicted. So fully blown out skies That's not great. They won't look pretty when printed because all the sky details lost and it will look like a yellowish 30 pixel mess. But how to avoids us. So look at your history, Graham. If attach is the right side, the highlight area a tiny bit, then that's great. The same rule applies to the left side. You're a shadow area, so this graph is supposed to touch the left side ever so slightly as well. If you have a little whites and a little black spot in your image, it indicates excellent contrast, well done. But if always, atonality is shifted to the right. Now you're are in danger, toe overexpose significant parts in your image, and you might need to diet back your exposure. So if you have a substantial portion off the cuff in the middle was the white and the black point. Then your overall exposure. It's two top. If the graph leans more to the right in the middle, then that's fine, too. It just means you are creating an image with a high key background or this hiking fear to it, like when working outside with the brighter skies. This way you produce a soft and airy image. Now the question Is this so bad as these images just lane trend. If you have no access toe artificial, lie it or an assistant who can help us a reflector than this form off Harry over exposure is the only way to go over exposure. In terms off, you are creating a brighter image, and you might risk over exposing the sky. But the exposure on the face off the capital that's actually correct, and that's face it. The capital will care more about their visibility and that they don't look muddy than the correct explosion off the sky. And this way you can shoot yourself. You don't really need any assistance, because maybe that's all it is. Maybe you just need sufficiency. Because wedding photographers who live in areas where overcast skies are typical and who don't have an assistant, they don't really have another option than shooting over exposed an area. And, of course, it could also be a matter off preferred style. Some people, they just laughed so soft and airy look instead off a contrast ing and dramatic one 43. The Luminous Look: the luminess look. Elizabeth Messina brought out a book a few years back. The luminous portray captures a beauty off natural light for blowing flattering photographs , and she should mostly film. But it doesn't matter if you should film or digital for her approach. A lot of her images are taking this way, so she directs people to have set back towards the sun. And then she meetings for the shadow the same way as we talked about before. So she needs us for the exposure on the model's face because of moments and moderate turns back towards the sun. His or her face lies in shadow, and this way is a camera exposures for a lighter image, while at the same time the light from the sun appears as a soft glow from behind. So most off her shots. Ah, a little bit overexposed working this way. And so you can ask yourself, Is this the correct exposure? So for her, it iss and doesn't look beautiful. Yeah, especially when a compliments and airy and soft story so imagine a romantic looking feared was a model in a flowery dress. So well, Elizabeth Messina, us overexposed. Look, work. Yeah, sure now imagine they were 50 war with the model in Goss closing. Will it work then? Most likely, Not so much. So. That's how you work out the right exposure approach for your story. If you would like to shoot using this overexposing technique, make sure that you are shooting and raw mode. So this way you can still recover some highlights. If you decide to darken the sky a little bit. In post production and light room and adobe camera raw, they have closed toe superpowers for recovering detail or adding more contrast. As long as you don't blow out your highlights completely, you will be fine. You can also use bracketing your dears. Alas, HDR function where you dial in three exposures instead of just one. And this way you don't have to decide on the spot. But keep your options open, which means later you can still decide if a dark and moody image would have looked better than a lighter and airy image. Off course, there are limits, so Massino's typical shadow settings are at F two and 1 60 years for one person and F four with 125th or 1 60 years for two people to achieve this romantic softness. If you record to foul and over exposure, it gets tricky toe hand. Hold your camera mainly depending on the lens you're using. So as a rule off some, your exposure shouldn't be less than the focus you are shooting with. So if you're shooting with a 50 millimeters lens, you shouldn't expose for less than 1/50. If you're shooting with the tailor lens, it's the long side off the lens that say you're shooting was 100 to 400 millimeter lens. You shouldn't should lesson 14 hundreds while shooting hands held. Otherwise, you will end up with blurry images due to the heavier lenses or camera shake, or, if you exposed for too long. The modern recreated plus RA movement 44. Lights And Effects: one more tip relied from behind appears twice as bright, so this visual effect can create a distraction when turning a blonde model with her back against the sun. Because a hair can reach out and appear yellow singing hasse trends can also become accentuated and might have to be removed in post. Be aware that any light from behind can create a halo, and that might look interesting or just thought lens flare. If you shoot with your models back turned to the sun. You also need to decide how much lens flare you want to let into your image. Ln sort helps, or somebody can hold a piece of paper to protect your lens from the flare. Otherwise, you can also play with the position off the model or yourself. I quite like lens flare can enhance the dreaminess or the romantic story off the image, but it doesn't necessarily work in every image. So to play it safe, offer your model a variety off exposures and positions with with and without airy angel glow and lens flare silhouettes and san star effects. One more option if you don't want to over exposed the image you can under exposed to and this creates a fantastic shillue. It was your subject bag against the sun or shooting against the sun. So if you use a very small aperture at F 16 to F 22 you can also create a star effect with the sun. So for this to work, the son needs to be a little bit lower in the sky in the afternoon sun as otherwise it will overpower any Apertura, and it will just look like a big white glop. So if you want to create the star effect, that's another very cool exposure trick. And if you use a flesh you can also makes pose light sources, you can under exposed image to get the Sun Star effect and then for the scene in was light to illuminate your model. 45. Your Favorite Exposure Is The One That Works Best For You: There is another reason for the same natural light before Reflektor Reflektor before flesh and Slash as your last result. Because throwing too many things at once into the photography mixing boy doesn't just complicate things, it can also slow you down. So the other reason for relying on exposure instead off lighting ISS speed. If you're working as a wedding photographer, you know the drill. You have to work on the spot. You often don't have an assistant. You don't always have the perfect set up if you need to expose for the faces off the capital so they don't look 50 shades darker while capturing their story and working on the spot. So be it. This guy will be whiter. Maybe he's a couple can be post later at some said, when the reception is over and everybody is a little bit more relaxed and maybe then you can set up shots that require a little bit more time. So maybe a person from the wedding party can hold a reflector or flesh, and then this way you will get nicely exposed faces and also the stock and dramatic skies. It's always best to create a nice variety of images. It all depends on your style, your client and also your situation in my photography studio. I only shot with Strop's for the first year. That's the way I learned it. Also, the studio had hardly any natural light in the world were painted in this muddy yellow, and I dreaded this color and was afraid that the color caste would be in my images. Not so much a problem in stroke photography as long as you're Gambians. Light doesn't interfere with your stroke light. You will not see any color caste unless ambiance light takes over. So, for example, if I shot with my regular studio settings at F 8 125th off a second and Isil 100 I knew I waas safe. No creepy Ambien flights was visible with the settings, but if I shot at 4 125th and I as a 100 then some onions lied with creep onto my images. So I kept the smaller Apertura and stayed away from using any natural light until there waas this one session where wanted to shoot very lights. You know, these little strings was lights on them that look similar to Christmas lights, and I didn't have enough space. Stuff has on my soft boxes do not overpower those delicate lights. And even at my law stroke power, those fairy lights were hardly visible because too much light would hit them and that cancer out these little lights. So I had to switch off my strop's and had to test natural light for the first time, and it wasa late afternoon. So there waas some available light inside the room. But I really flinched when at 1.4 and the 30 years I still need to raise my eyes or to 1250 because, you know, in studio photography, increasing the Aiso is a huge no no. You think you need to avoid noise at all costs. But you know what? The exposer looked amazing. It wasa perfect setting for my story. So my concept waas vintage and fired, and the higher Aiso introduced a little bit off noise, which edit really to my vintage story because the grain that was perfect. So nowadays cameras handle noise extremely well anyway, so I knew it wouldn't really too much often issue, but still a photographer you're getting toward to avoid it when possible. So I was really perplexed that I liked it. The same with the color cows. These dreaded yellow studio Voyles made the image look as if it was shot was an old Finn camera. It added an antique looking tins to the images, and no light from free said was needed also. Now my fairy lights were visible, perfect and s. We said even better now I could work with speed. I didn't need to wait for the flesh to recycle, and I could freely walk around the modern for the best posers, and I didn't need to worry that I was in front off the flesh and would interfere with the trigger was at me being in front off the soft box accidentally would under exposed image so much easier and faster. And a few minutes later, I was already done with my session exposure and post production. If you like post processing and you are using presets or actions, it's helps to think about the right treatment beforehand. If you know that you will add a lot off light by default and post production, or by using actions, then you might not need to overexposed in much while shooting. So as much as I love the airy, overexposed style, I tend to under exposed my pictures often so that a and home risk losing the details in the sky, but B so that my exposure works with my brighter editing. 46. One More Tip About Exposure: one more tip about exposure. There is one easy mistake. Remember the exposure problem we had with the snow? So the camera was meeting for 18% gray and what, under exposed to snow, making it appear muddy. The opposite would happen at a wedding. When you're metering for men in dark suits. Now is the camera sings that this area is supposed to be great and wants to over expose. So this becomes a problem when you have a bright in the white wedding gown in the picture. Now you risk that the camera brightens the image overall and with that could accidentally overexpose the wedding dress. So if you're shooting weddings, it's more important to capture all the details on the brights dress, then lifting absent shadows on a man's black suit because a advancing people really care about the fabric off a suit. As much as they care about the details and the beating on a wedding gown and B, it is easier to lift shadows and photo shop, then recovering blown out highlights. Just keep your eyes oh, as low as possible so you don't create too much noise when opening the shadow area in post production. But as we said, shooting and raw will help to recover most details and can also be used to reduce noise. 47. Composition Guideline Number 1: composition, guideline number one don't crops or any joints, so we fed it before, knows a rou it's and then break them. And the saying is also the case for this subject composition. However, you can only bend the rules on purpose, not because you don't know them. On Instagram, I see a lot off strangely cropped portrait like horizontally close ups with the face straight in the middle. And then traps was this road, and this prop makes me physically uncomfortable to look at. It's just too close, and then this road is chopped off and when compositions are too weird, yeah, you were not really attract viewers. The right composition is a big deer. You can buy books about it, and they focus on nothing else and just composition. And that's how big's a scene ISS. So if you feel you need help in this area, then please get a great book about subject or study compositions and images, and then stop cutting people throat the home crop any other out places, either. So, for example, don't crops through or just before joints. So for our book posing like a pro, I created this at work, so you get a better idea how not to prop through years through elbows through wrists, through fingers, through the groin, through knees, through ankles and through toes. I sees us a lot. Chopped fingers and toes. Leave more space and your image for the whole hand and the whole foot don't amputate anything by mistake. It will look weird and distracts the viewer how to krump under the neck. Waved before the groin before the knees, before anchors upper arms and before the elbows. So some people don't like it, but I don't really mind it, chopping off the upper part off the head. So this composition is often done in headshots toe have better eye contact with the viewer and less distracting forehead so far heads often the pad off the face that appears a shiniest. So in general, I don't mind shopping through it as long as the half that is visible enough, then I don't care too much about the top off the head because of Ur knows it's there so sometimes also chopped off a labels if they're pointing out and look to pokey, and also I don't find elbows to attract off their mostly dry and we're looking so I don't care much of their missing in an image. But don't chop off too much off the elbow because this scenario will look like one. AM is going out off the picture. But and then years a hand is creeping back in, so the viewer doesn't even know if it's the same. So chopping off a little bit off head and edibles, yes, but chopping off more significant parts or finger and toes, no. 48. Composition Guideline Number 2: composition, guideline number to the rule of sorts and the golden spiral. One of the most exciting composition is the rule off Certs. It is said to be invented by John Thomas Mus and 17 97 and was used by painters ever since . Then, to create the rule of sorts in your mind, you need to split the image equally into vertical parts and Tories on footpaths. So imagine the grit was to horizontal and vertical lines, and now you have nine squares. Then place your subject onto one offs, those left or right cross points. If you're shooting a modern and profile, she should look into the negative space. So, for example, you place the model onto the right side off your composition, and she looks to the image left side into the negative space. So the model must face this negative space as this creates room toe breeze for the modern. If she were looking towards the edge, it feels suffocating toe the viewer as if there was no space for the model or if she was on the edge, so to speak. If you use light room than you might have seen, different overlays in the crop section that are designed to help you with a better composition with in your image and one off those overlays. It's a principle called the Golden Spiral, also known as the Fibonacci Spiral, and this dates back to the 12 century, and it's hard to mathematical for me to explain or Toby almost even to understand. But the website, where I try to find more information set at the end. So let's just say it's a mathematical equation off aesthetically pleasing composition. So I'm like, OK, thank you. I will stick to that. It's not essential to know the mass behind it, but it's great to know that this golden spiral is an exciting way to design the layout off your images. If you prefer to find a great crop and composition in camera, or if you like to define it in post production, this decision is up to you while shooting our focus on my mother's expressions and shop images. Not really on the right crop and shoot a lot wider as an unusual, because this means I have more options later because if you cropped to tie it and then post production, you realize a man this picture would have looked red with a horizontal crop. Or I wish that my model had been placed in regards to the rule off Certs. Then you're out off lack. Now you can change it anymore. 49. Composition Guideline Number 3 : composition. Guideline number three. Use negative space to your advantage. You are free to use any composition theory as long as you know why you are doing it. So I haven't looked at all of the's stylistic compositions and see which ones for your style and story. Rule off Certs sends up composition and symmetry. Rule off arts fills the frame. Negative space left to right will rule off space, going trying a Gordon ratio, good inspirer or figure it. It was a figure that looks very much like the grit formed by the lines off the rule of shirts forever. Here, the parallels sets off. Lines are more closely together the composition and sometimes consider to be even more interesting than the rule off Certs because of figure, it can balance, and in much why the rule of Sirte's producing image was more impact on the other side. But it all depends. Usually, all of the photography guidelines recommends that your model should look into the negative space. It feels more spacious, and it's more pleasing to the viewer. However, if you want to make you viewer uncomfortable than you, break the rules, so use grease your motor to the side off your composition, and then you let them look into the edge, not of the empty or negative space, but towards the edge. The second season off The Handmaid's Tale that's a TV show on Julio dot com used this composition a lot, so they were placing their characters toe the fast side off the frame while having some looked. Watson edge. So the character a few trapped in their world, So it's kind of a great cinematic device. Placing them at society means there is space and the image, but not for them. So they don't see or fears of space when looking at the drops of frame so their characters have no room to grow. They are hopeless and they have nowhere to go. And for the viewer, Mirrors is feeling off being claustrophobic. So the visualization off these characters desperation through an impactful and uncommon composition is actually a great choice. 50. Composition Guideline Number 4: composition. Guideline them before. Don't use the boots I composition and less. You know why Boys like positions. They tend to be the most boring. It often looks amateurish, like a photographer. Didn't really think about the story or how to flat as a model, as if he had said, Okay, model, just stand there. Snap. So the rule is don't do words I positions, But again, you can also break this rule and spin it this way. So the modern is the essential part off the image. It's all about him or her struggle, and therefore they deserve to be the centre off the viewers attention, especially in composites. The sports I composition often looks best, and I mentioned the photographer Brooke shading before, Even if you don't like her heavily Photoshopped images off her dark style off struggle. Ask yourself with any other composition have worked in these pictures would look better or worse if the subject was positioned, left or right 51. Composition Guideline Number 5 : composition Guideline number five. Think about the bigger picture. Sometimes it looks better to zoom right out to show more off your subjects environment, especially in wedding photography. If the Capitol's been a lot of money for the wedding location, you want to captures ham in it and shows the whole scared so this location could be at the beach. Vinyard Arrange castor. Keep in mind, Soul has the model or wedding capital will appear tiny, which is great because now you can sell a big expenses wall at are just kidding, although why not? It's all about the passion for photography, but we have to eat somehow. So while portray its with big locations and tiny moderates look more like fine at images than a typical wedding portrait. So some capital laughs the style and seeing themselves in this chosen environment, they preferred more than close ups, so that really depends wherever the compositions diet. That also depends a little bit on the models or clients age and lifestyle. So younger capitals might like the speak location tiny modern style and would laugh to own a piece off wall at but don't have the space for this because they live in tiny apartments and then a really ladies and gentlemen who owned the house, they would have the room for it, but they tend to like traditional wedding portraiture, which is former and post. They also wants the most bang for the back, meaning there are pain toe see themselves. Not so surrounding. There are often less interested in artistic freedom. I noticed this a lot when I was shooting Children portraiture, and the Children had to look to the camera all the time, and they were instructed by at least one family member saying Cheese, so candid or looking away shots where the kids didn't look to the camera. They were rarely purchased in posing like a pro I talked about for whom do you shoot? If you want to learn more about the subject, have look at that cause we'll think about it yourself. It's your client or model similar to you or maybe from a generation was different preference of So sometimes there are invisible clients to satisfy, not just the modern that's in front off your lens. So, for example, grandparent's parents, aunts, uncles, so when shooting larger scales also keep in mind, they look less impactful than handing them out of Digital's, especially when the client is viewing such images on a tiny screen like a malware phone. They might complain I'm tiny in these images, so such compositions might require a different business model. For example, I PS in person sales. So nevertheless, it's an excellent advice for storytelling to show the scale off some models versus E environment and often such images. They also work wonders for your portfolio or in competitions, even though not every client wants to buy. The big picture was a pure tiny. They might book you because off such images and your creativity and especially photography , what judges they laugh images that show exciting compositions and large scales. And last tip. How would you direct such models in such big scale images? If you'd like to photograph a model or a couple that is very far away from you, terrorism to use them over the phone on loudspeaker and to place it behind them so that it's not visible in the shot. This way, I can hear you giving direction through your mobile, and you don't need to scream 52. Composition Guideline Number 6 : composition. Guideline number six. If your pictures aren't good enough, you're not close enough. Robert Capa. As we said, this guideline might be more appropriate for some clients. Better bang for the back, so to speak. Also, if your story is about your models emotions, then zoom right in. Take a close up to fill the frame the most for gotten images are the ones that are knee za here, nor there. So makes that decision in or out and room with your feet. Keep your lens that's the longest side for the best compression and move closer and further away with your feet. Other factors to think about for an intriguing framing and compositions. Our framing with lions diagnose shapes, forms, textures, patterns, color contrast, symmetry and space. And once more, keep in mind. House of Viewer looks at the image from Dr Bright from soft to sharp and from less saturation toe more saturation. And there's one more viewpoint of us culture. How was they like and dislike specifics and Matics and house I learned to read. So, for example, people who read from left to right there often transfers us two houses. Look at an image they will also look from left to right. So keep always these guidelines in mind when you develop your compositions and this way you will enhance your story and the quality off your image. 53. Ingredient Number 5 - Illumination: Illumination Vs Lighting: illumination versus lighting. I could choose to say, Let's talk about lighting and most photographers with immediately associate. This was Rembrandt lighting or paramount lighting. And of course, we will talk about the advantages off typical studio lighting, too. But I choose the word illumination because I want to make you think bigger. Not so much about the choices off strobes, accessories and lighting patterns that you can use, but how to form and shape your model. Unforgettable imagery. It's not so much about you and all the good stuff you are utilising thinking about your gear instead off your outcome. That's the one that needs toe inconsistent images. Your client could say things like those in much looks awful. While using just cannot be, I bought the most expensive pro photos tropes, or why I used the butterfly lighting technique. So the ingredient I want you to think about it's not how to light your model, but how toe illuminate your model and was set How toe flat as a model in the best possible way in any circumstance, even in full sunshine at midday. So let's talk about how to illuminate your subject with natural light 54. Open Shade: We already talked about exposure and how natural light can help us to create airy, luminous or vintage looking images. But many photographers fear direct sunlight. I held a photo shoot workshop ones at MIT Day just to prove photographers as a wise and to minimize this fear and granted. If you shoot at Nunes Ally, this rich and contrast and can cause ugly shadows. Similar toe hash flesh, the light of softer and more flattering just before sunset, when the sunlight of morph ezzard and was that looks more like a soft box than a bare flesh bob. But you can also opt for open shades so you can find a location that offers the shadow area like a tree or building, and where you can place your model right at the edge off this shade. Not too far back into the shadow because that causes a mad iTunes. And even worse when you're shooting in a forest because a few place your model into the area deep inside the trees, then you re create a green color cast to your images. So, as a rule off some you want to place your model into the shadow off the first tree that you see and in the open shade to avoid any potential color caste and muddy looking pictures so the lighting will be flat lighting. But it will be also soft instead off hash and contrasting shadows. But be cautious that the shadow coverage is intact and covers all off your model because otherwise you will fight the step it light and this lighting problem often accused on the tree leaves. So some led lights through and as a stoned so the results of hash, light and shadow patterns. So be careful for that. However, sometimes you simply can't avoid shooting at midday and then sunlight. Maybe there is a specific background that you wasa client has in mind, and there is just no open shades, so here is what to look out for. 55. Avoid Raccoon Eyes And Squinting: If the model looks straight at you, she will have raccoon eyes, meaning the sun directly above the model will fill it hiss or her eye sockets with shadows . Hence, the skin around the eyes appears very dark. Similar looking. Toe the stripes off a raccoon. It's a model wears a hat off Happy's. This will also create shadows and create Doc. Raccoon eyes always just throw ugly, shadowy color cast onto the face. Next problem. When the sun is behind you and you tell the model Look at me. It means the model is looking now directly into the sun because it's behind you. The moderates Quinn's, which re costs unattractive Brinker's so to avoid, are these problems. There is a straightforward trick. Don't have the model face towards you, and the sun is above or behind you. So if the sun is above, have Samata turned her face sideways or slightly towards the sun? This way there would be no shadows thrown under the eye sockets. This way, the Modern also doesn't need to squint. If the model wears a head or happy's, have him or her lift the piece up hotels until slide it back. All the way until the shadow on the skin disappears. Never have somebody looking directly at the sun or into a bright reflector or flesh because you don't want to damage anybody's eyes. But if you are going, toe pulls your model to look into the direction off. The sun was no sunglasses and no squinting. Then try this trick, but you need to work really fast. Otherwise, it will be too uncomfortable for the moderates countdown. So here's a trick. Tell your model is to turn the face towards the sun and to close their eyes. Takes a picture because often it looks very nice when somebody soaks in the sun was closed eyes. Then tell them I will count down now at one, and you will open your eyes as wide as possible so it really takes a shot them. And immediately after that, you can close your eyes again. Okay, so here we go. 321 open. Why it big eyes And then you take the picture and then you tell them. Okay, relax. Close your eyes again. Direct and strong sunlight can look very fashionable, so don't run away from it. Try it. If you're worried about hash shadows have somebody holding a diffuser this way, it will soften the light. Hash and unpredictable shadows are usually not desirable in portrait photography, but well placed channels our So let's have a look at that. 56. Shadow vs Light: the next reason why I don't cause a step that lighting is. Often, Photographers tend to overlook their subjects, especially in studio photography. After all, they behold all this powerful fresh equipment, and it's dark inside to studio. So you need to see is a modern somehow right. So they put the strobe left and right, and then blast all light onto their subjects. Now is the model is well lit, and they are saying that's what you meant was great lighting right? No, that's why we don't call it lighting in our recipe that indicates, actually lots off light output, so we call it illumination because it's not all about the light. Sure, the quality off the light is vital in photography. But if you want to tell an intriguing story while flattering your model, you need to understand how to work with shadows instead, off light 57. Guideline Number 1 : guideline number one light lights up your image, but shadow shapes your models. They will looks three dimensional and appear slimmer. So in the next section I will focus on studio lighting. But don't forget that short lighting and slimming the body was shade. That's also possible when working outside. So here you just need to find the right mix off light and shady area. So have somebody holds the black side off a five piece reflector because this path, for example, that stops the light bouncing all over the place and creates shade instead off reflection. And so this will also shape your model. So once more natural light is not your enemy. Never fear to explore all your options. However, the son cannot be moved but strop's can. So if you want to learn how to use always the tricks on lighting, let's have a look at illuminations and aerials 58. Guideline Number 2: Flat Light Means Fat Light : guideline number two flat light means fat light. So let's go back to the studio scenario where the photographer places a strobe left and right in front off the model. So if the light output set to the same F stop, you will produce a flat lit image, meaning there is no shadow area in the image and the picture will appear. Flett and fled. Lighting is often difficult to avoid when shooting a natural light, especially in open shadow areas, and at days was a cloudy, overcast sky. So, naturally is a light will wrap around. The model was no direction in this way. It will appear flat. So the easiest solution to have somebody who either the black side off, so five piece reflector toe at shade to the image, or to have somebody holds a reflective side off the reflector toe. Add more directional light into your image. So in studio photography you shouldn't use two lights left and right with the same power output. Only one light is your strong lights, the so called key light, and this one illuminates a specific part off your model. The other one is your film light, so it's only job is to fill is the shady area, but not to eliminate all the shadow. It also shouldn't create a second catch light in your modern eyes. But why do you want to avoid flat light of possible? Because fled lighting is fat lighting without shadows, there is no shape to the face, especially when you have models was round or chubby. Face is you need to create shadows to slims them and to create a shape. How will you achieves us? 59. Guideline Number 3: If You Want To Flatter Your Model Use Short Lighting: Guideline Number three. If you want off, letter your model. Use short lighting. Imagine your working space as a clock so your camera position is at six o'clock. Your model is in the middle office. Oclock in your background is at 12 o'clock. Your key light is positioned at eight oclock and your modern needs to face towards the light. This light will illuminate the cheek further away from the camera. While you're models, she closes to. The camera is nicely shaped by shadow. This way, any face can be moderate toe appear slimmer in photography terms. We call this lighting short lighting. 60. Guideline Number 4: If You Want To Make Somebody Appear Bolder Use Broad Lighting: guideline Number four. If you want to make somebody appear Boyda, use broad lighting, so the opposite lighting is called broad lighting. If the model turns our body toe the other way and looks to the far oclock position, then the cheek closest to the camera will be illuminated. Now there is more light than shallow on the face, meaning it's broadly lit. But we said short lighting. It's flattering. So why would you turn the model's body? If a model is various limb, you might not want to slim her. Even further was Shadow. In this case, you want to use broad lighting, and she will appear a little bit Kerr via if women have strong facial features and this lighting scenario can also look great. It gives them a border appearance like stronger and more bossy, but typically is the selloff. Lighting is used in male portraiture. If you're shooting a male model, you are usually not s concerned, a slimming him down. It's more about showing him masculine, athletic or tough, and this light is also allowed to be hasher and was more contrast for more ragged look. So depending on your model or your story when shooting women. Then it's better with less contrast in the soft box very close to the modern, because this is more flattering and the illumination effect a softer. 61. Guideline Number 5: Think About The Right Light For Your Photographic Genre: guideline Number five. Think about the right light for your photography drawn room. So in traditional photography is a light, or lights come just from one side, and thus the symbolize the sun. In fashion photography, everything is lost, I allies, and can be more dramatic. Lights are often sets up on each side's off the model like a sandwich, so you have fly its model light. And this way you can achieve a separation between the wardrobe ends a background, especially when you're shooting a model of a star. Closers on attack background. You often seizes used in athletic photography or maternity photography, where you turn the modern sideways. In this way, you have so light on the faith and the muscles or the belly and lots off shadows in between two slim or shapes the body and then one light from behind for the accentuation. So the complete opposite in event photography, especially when shooting groups, you don't want to tell a story or a dramatic image. But here it's more about a quick turnaround off images, which are evenly lit and not to be worried with shadow areas, so flat lighting is often the preferred way in setting up. It's quick and easy. You don't need to worry that parts off the group is under exposed and maybe one person turns left instead off riots and has shadows, so you don't have to worry about that. It's all about working on the spot and equal illumination and therefore less about slimming the model in event photography. 62. Guideline Number 6: Three-dimensional Bust: guideline number six, if possible, set up for a three dimensional bust. To achieve this three dimensional lighting that gives shape to your models, Bust turned the model away from the light source and then have her looking back towards it . But only Russell face not with the body. So let's say your key light is on the left. Half the model turn toe her left and then tell her only to move her face back towards the light. So this way the light travels across the chest, giving her excellence re dimensional shape. But why is this preferred lightning? A chest full on for Ed? Strange visual effects was women, so big breasts will look even bigger. While it's more the breast, we look even smaller. Both scenarios are most likely not the desired look, especially if such women are self conscious about these areas and don't want to look fuller or flatter. That's why it is the best. Lighting illuminates across the chest and creates a three dimensional the best 63. Guideline Number 7: Avoid Lighting up Ears: guideline number seven avoid Let's years. So yes, I probably that kind off body parts were happy to have, but we don't really care much about for showing them in the photograph. Also, when you shine a light on them quickly appear reds because off their sins skin when you are photographing women and they have long hair that kabas them and there is no problem. But when you are shooting women and men was short hair cuts or maybe women with Aptos, then you need to think a bit about how to position your light. So the more that years are in shadow, the less noticeable there are. 64. Guideline Number 8: The Right Position Of Catchlights: guideline number eight. The right position off catch lights. Why are catch lights very important in portraiture, because without them, the eyes off your model will appear dark, dull and lifeless, so they catch light. Let's ice Parker, and it's more character to the portrait. There are different approaches to catch lights, depending on your john room, but traditionally, if you work with studio strobes and soft boxes, or even just with the speed light, you only want to create one catch light in the eye. So imagine the pew per as a clock. The catch light looks best a 10 or two o'clock, depending on which side the light is coming from. And this way the nose shadow points down watts, which is considered the most flattering. How do you achieve the 10 or two oclock position? Said you'll height or soft box upto a 45 degree anger pointing towards your model one mistakes that I see a lot When photographers director models from standing into sitting positions, they often forgets to reposition the lights, so if you loss a modern, you need to lower your lights a swell. The anger needs to stay the same, pointing at the model at 45 degrees. So the form off the catch light. So this decision, really, that depends on you. Some photographers they like the soft box because a catch light looks similar to a window, as us don't like, said. And I prefer, like around one maybe created by a beauty dish, for example, and Peter Hurley. He's a famous photographer known for his head shots. He positions his lights, toe form, catch flights as a try, anger or a square around the monitors pupils. So whatever you do, be careful. That's a shape off the catch Light doesn't equally reflect in the moderates knows. 65. Guideline Number 9: Avoid Uplifting Lighting: guideline number nine. Avoid uplifting lighting. If your lights are not at the 45 degree angle, but they're too low, you will create a catch like that, either at nine or three o'clock or even lower in the pupil at eight or four o'clock. And resist that I'll be really risk creating an uplifting effect. So this effect fits well to horror movies. If you think about The Blair Witch Project with the torches under the chin off actress, but it should be avoided in traditional Ted ops, apply Ting isn't flattering unless you are using it as a second light source to minimize shadows, and this is called clamshell lighting. 66. Guideline Number 10: Minimize Shadows With Clam Shell Lighting: guideline number 10 Minimize throw shadows and ibex by is a Clem shell lighting. So in beauty photography, it's common practice, really to use a reflector or another light from underneath to minimize shadows and other nose in the chill. So for this to work most efficiently, the beauty photographer places a stroke right in front off the moderate like it's a modify in this case is often a beauty dish in This points down what's and introduces a lot off strode shadow toe. Minimize this problem and Lazar light of place bolos a modern and lights upwards but was less intensity. As we said otherwise, it looks like The Blair Witch Project with the torch, so the ratio is up to you. But usually I set my key light or the beauty dish at F eight, and my fill light from below could be a soft box at 2.8, and this lighting scenario looks like a camp shell. Hence the name. So if the secondary light looks still overpowering, then a reflector box well, so if you're shooting and close up than the model can even hold it just beneath her face, and this way she can lift these shadows and also soft in any potential I peg areas that may be caused by contrast ing light off the beauty dish. So with this lighting you are breaking our traditional catch light rule. So this will produce a 12 o'clock and maybe a six oclock catch light. So if you look at photographs and studies of subjects eyes in the catch lights, you will get a great understanding off what light sources they used. So this knowledge will help you. Cento identifies the lighting and you can see if you like it or not. 67. Lighting Style Number 1: Butterfly Paramount Lighting: lightings die Number one. The Butterfly, Paramount lighten. So this lighting scenario wasa signature Look off the wooden age off Hollywood, hence the name Paramount. As the Paramount Film Studios ends, a famous photographer, George Terrell, were using this lighting style a lot. So how can you recreate this technique? So this light comes front and typical 45 degrees, or even more degrees from high above. So a lot off the model's face is lit in this lighting technique and can only produce shadows. Under is a cheek if the model has very dominant cheekbones. And if you look at these photographs from the Golden Age of Hollywood, you will notice that most actors and actresses that wasa case indeed so they would have prominent noses and cheekbones and strong jaw lines. Another typical detail is a beautiful deep shadow off their eyelashes. Nowadays, this style off lightings, often used in beauty commercials, toe demonstrate makeup and the light creates a shadow, and there's and knows that looks like a butterfly. Hence, the other name for this lighting is butterfly lighting. And, as we said before, it also creates how shadows another gin so you can turn this butterfly lighting quickly into clamshell lighting to provide a greater variety off images or to flatter your model a little bit more so in butterfly lighting with drop off from light to shadow, it's quick. There is not a lot off transition, which means this life in technique works best for close ups as the rest off the body that will fall into shadow and what rope details will be lost. You might have wondered if it's even okay to Jews. Butterfly lighting, we said before. We don't want toe flat. Let our models and throw lots off light at them. So there is one exception to this rule is, or sometimes over. Exposure can be flattering. So moderates was wrinkled and back eyes that can actually benefit from us lied over exposed life in technique. It feels in these blemishes once more. You don't want to bleach out all the details. Similar had to our talk about the sky and the exposure affection. Here. You want to keep a little bit off detail. You don't want to blow, always a mottled pause, but a little bit off over exposure that can look great and again, it depends on you and which part off your model you want to highlight this limb shape, shadow versus great skill lights. So if you are working together with the mega batters, you can also address your form off lighting to them and ask them to control the model's face a little bit stronger this way, even when overexposed, it will not appear flat or washed out, and the cheekbones and the facial features there is still visible. Also keep in mind different modifiers. Some models, a look, rage was a beauty dish and others not so much. So I always joked in my workshops. It's called The Beautiful Fish. For reason. It's only for beautiful modern. It's of course, I'm just getting. But it's a reflective modifier that produces a harsher, more contrast, Equality off light. And if you're Models has a lot off blemishes, this beauty dish will now accentuate thes problematic areas. So in this case, the soft box as close as possible would be best. And then it's the softest light output, and that might be the better modifier to choose 68. Lighting Style Number 2: Loop Lighting: lighting style. Number two. New blighting. To achieve this looks a key light needs to be placed slightly to the side off the model so that the shadow under the nose becomes a small loop. This shadow doesn't merge with the shadow off the cheek. As this is considered Rembrandt lighting. Butterfly lighting can be easily transformed into a loop, lighting by law rings and light and slightly moving it over new blighting us most flattering was average and over shaped faces. 69. Lighting Style Number 3: Rembrandt Lighting: life things that number three Rembrandt Lighting The technique is named after the Dutch pains are Rembrandt from written, and those paintings had a particular style, so he used skylights and high windows to illuminate his subjects. And this lighting technique is known for creating a try anger off light on the subject cheek, and you can create a similar effect for the starter. You just need a big soft box, and your place is a little bit farther to the side than in the loop lighting style. This way, the shadow from the nose connects with the cheeks and forms is typical. Try angered shape. If the modern places ahead in the right direction, and with this technique, you will like it. Five planes off the face, the forehead, both cheeks. One will have those triangle shaped lighting, the nose and the chin, and depending on the direction, the model chances or her head, the image can be brought lit or short narrowed. It 70. Lighting Style Number 4: Split Lighting: lighting style number four split lighting. Here is the light comes from the side and only brightens half off the face. It's a dramatic look because half off the face is in shadow, and this look is also considered masculine. As it's broadly, Let's lots off, lighten skill and works well with guys who want to look dramatic are mysterious or women who are slim. And we're a strong outfit. It can be great for storytelling as it s isthmus. Furious nous and interest, however, keep in mind you wouldn't want to use this technique for a headshot, especially not for somebody who wants to appear trustworthy. So imagine you should a banker with split lighting and lots off shadow, and this way he would come across a shady and not trust. Was he at all? Such an image could make you think if a borrow money from the sky and cannot pay him back in time, he would probably come to my house and break my legs. So not an idea visual effect for our charming banker, so, as we said before, always keeps the who off your story in mind. 71. Lighting Style Number 5: Mixed Lighting: life in style number five. Mixed lighting. Be careful and shooting was more for flash comes or schtrops. Always keep in mind. One light does one job. Be cautious that lights don't cross each other, so this had up can create ism or illumination than originally meted for, or we had lighting patterns and ugly shadows. The isil Avoid mixing light sources at the same output. Avoid intense ambient light and flesh. For example. You don't want to confuse the viewer. As we said before in portraiture, the strope symbolizes the sun. So if the viewer things, there are more sons where that would look like a sigh. If I or most likely just ought when shooting an ambient light with the strope, you still need to dictate who is your key light, and two is your fill light, so one light source needs to be brighter than the other. Also, you don't want to create, knows shadows coming across from both sides off the light source and take all the guesswork out off metering by using proper light meter, not the one in your camera. One day a company, for example. It's iconic, so this way you can set up your illumination and exposure scenarios with the most precision and one more flesh advice. If you don't own Strop's but only have one flesh you can still create all off these lighting techniques was just this one flesh, but it needs to be off camera flesh on camera flesh rarely looks flattering. On camera is your only option. Learn how toe bounds flesh with the pounds cat or how to bounce it against the white wall. 72. Lighting Style Number 6: Stylistic Lighting: light in style number six stylistic lighting. Last but not least, there are so many great lighting accessories out there that can help you to elevate your creativity and your images to the next level. Different modifiers shooting an edge as s hi Sing speed toe overpower sunlight, for example. There are filters and lenses at great fun died effects like lens baby, for instance. Blast. You can play with Goebbels and gels and the letter stylistic elements can be challenging. But there has so much fun. If you want to know more about these subjects, have a look at our You Did me and sketcher tutorials eight of portray photography, Serious backgrounds with Goebbels and Creative Portrait Photography's magic off color and gels. 73. Ingredient Number 6 - Ambiance: The section is not about ambient light, but the ambiance. Feel off your photograph. So the dictionary defines Indians as the character and atmosphere off a place more synonyms are or, ah, mood, fear, vibration, quality, complexion, flavor, look, tone and spurt and short. What is the overall feel and character if you're portrayal site. So this flavor is probably the most subjective aspect of photography. It makes you unique and separates you from already as our photographers. Now that you define your story of a style posing, exposure, composition and illumination, all of these components need to become one mix, and this way you can judge the underlying consistency off your ingredients, similar to our lasagna. Is any path overcooked or to liquidity? You need to ditch one element and start from scratch. You need to evaluate these points before moving on to the next component. Brings image. End its presentation to the next level in light room or photo shop. So now there is still a chance to change the character off your image. USD. At the in camera production, you don't want to fix problems in photo shop that you could have fixed on the seal. It is important to be ruthless with yourself. So analyze your picture end. If you can see any problems and ask yourself, can you fix it, or does the ingredients need to be destroyed? 74. To Fix Or To Destroy Part 1: The Right Model The Wrong Background: to fix, to destroy Pat won the right model. The wrong background. This part is probably one off the biggest mistakes in photography right after unflattering , posing the wrong background for your story. This error can happen because off two reasons. First of all, you didn't think the concept through to the end. So on Instagram, I see a lot off half baked stories, a model in a pirate costume in front, off a black background nude model on the white background. No expression. What will it was gel color. A teenage girl in her prom dress standing in a forest, a laundry model looking bored in the dusty car park. Why does non off see if backgrounds or scenarios work for the story? Because they're neither here nor there. There is a simple rule on how to make it work. Either the model and the background need toe complement each other, or the contrast between bowls needs to be incredibly non complementary and intended this way. It's weirdness makes it's exciting, and it's intriguing toe the viewer. So in 2009 I attended a wedding workshop, and one thing that the host, it was all inspiring. He positions the workshop right in front, off a big yellow recycling dumpster. So why was this move or inspiring? So the yellow dumpster and supposing off so bright changed her princess look to a bad ass one. So I had never heard about the trash the dress shoots before, and not in my wildest dreams would I have placed a bride in front off rubbish container as the background. But the contrast was big enough to make the photo intriguing and not trashy pun intended. However, these are background choices. They need to be entirely intentional. If you don't elevate your story with the right background, it can quickly look half hearted, and you will lose this M. Bian's feel off your image. So, for example, if you want to shoot a model in a pirate costume, you need to show some element that brings us authenticity to the story. So maybe a backdrop with a ship or a golden treasure or something like that, or stylistic elements like Goebbels or gels that makes the image intriguing as Ojai's. It just looks like a woman in the helo win costume posing for a catalogue or maybe photography session for a cost player, although the letter that would be even worse because cosplay us they're very passionate for bringing their favorite enemies that to life and they designed the costumes was incredible attention to detail and work really hard to get it just right. So it's your drop, their photographer to elevate their imagination to the next level, and you need to bring their costume and their character alive. This is terrifying. A year for sure. I had the costly a session once, and I only knew one thing. She would be dressed as Princess Celestia from my little pony, now trying to come up with a background when your motives character is the fictitious horse princess. But it's possible. So please don't just pack your model in front, off a studio background or a forest or a dirt feud. Fix it, make it complementary or abstract. Your decision are you did things a concept through, but the background didn't quite work out as you hoped. So that's all right. It happens to all of us at one point or another, so we imagine something to look a certain way, and then it just doesn't come together. So to say it was the words off. Disney's frozen Let it go, Let it go, turn away and slam the door so you can try to fix it. But if it doesn't work, destroy it. Think of something else instead of driving yourself crazy with this initial idea. If you don't like the background in front, off, you turn around things behind, as they can often be far more intriguing. Or look for stylistic elements. Boca structural lines, their cases or brick walls, sometimes a cameras. His interest was. I see dullness and don't forget the kiss principle. Keep it simple, Stupid. If your background didn't turn out right because the vision waas too abstract, go back to basics. Simple elements can be intriguing when used in the right context. 75. To Fix Or To Destroy Part 2: The Right Model The Wrong Poses: to a fix or to the stripe at to the right model of the wrong poses. Sometimes you direct your model or your couples, and they immediately get supposed some people that look gorgeous and gracious by nature. Some couples can pull off looking cozy and intimate and beautiful all at the same time. If their natural posing looks fantastic, let them do their own thing and just movinto fix little things like hands or face positions . But was other models or cup? It's not. All your opposing suggestions were work. So, for example, if you pose a capital and one partner looks awkward and you cannot fix it, you need to destroy the world pose, build it from scratch. In wedding photography, you can often see the most beautiful animation for the bride. Dreamy, romantic. She looks like a fairytale princess, but Prince is missing. So instead off creating a similar enchanting post for the groom. You just end looking bought or awkward destroyers opposes. Maybe you have to do something completely different, like turning their positions around. Why have so bright sit down? Don't forget. You always need to evaluate your model's body and shape, but not in a creepy way off course to make sure if you're huge, reposing floor works or not. So study out off letter, curvy model and skinny models. We often see a lot of tips on how to post curvy women. But not every pose works with sin people eser. So keep an open mind and again if you cannot fix suppose, destroy it and move on. But not by actually saying that to the Modern. That would be offered because most people assume that their fort, if the post doesn't look good as you imagine it, and it's not really their fault. It's just human. We all have different body shapes and so on. So say something like, Okay, let's try this instead and just carry on. Pay attention to details. Another big issue in regards to fixing things. Attention to details you might have heard about Game of Thrones and the show's problem with the Season eight their final season. Not only were fans not happy about the direction off the show, but also two scenes went viral as a result, off not paying enough attention to details. So in one scene and Mr remove a Starbucks coffee cup and in the other. They forgot about the plastic water bottle on the actors chair. If you haven't watched game of Thrones, I didn't either. But from my I'm offending, it's part. Historical fiction was kings and castles and part fantasy world was dragons and direwolves . So having visible modern day items in a scene that's a big problem, it destroys this word building and makes it nearly comical. Other movies had the same issues. So in the movie Gladiator one off the extras forgot to take office. Modern Watch and another scene. The viewers could detect a gas canister, so both of these elements destroyed the believability off the when, off the story Roman Times In the movie pipe fiction, there were bullet holes in the wall before any shooting, A cures and Brazil. So this is the stake could potentially destroy the who what are aware off the story so details can really make or break an image. So instead, off earnings of US respect you're getting laughed at. So be careful when setting up these details, unless you want to go viral with something observes. So I'm not sure if the mistakes in Game of Thrones, real or fake toe have so say Roscoe. Viral two gives the show maybe more attention because, after all, it's rather astounding. But in such a big production, nobody off the actors, directors, producers or as a team. Members noticed these mistakes. And even in the post production, these problems were not addressed or edited our cat or reshot. But then again, even when shooting just portrayed instead off big screen productions, mistakes happen. So here is my attention to detail is to give you the chance to fixings as soon as possible . 76. Checklist: Pay Attention To Details: number one body language. The model's body language needs to be believable. So, for example, don't tell her to cross her arms and to look super happy because I'm crossing. That's a form off protection and being reserved and a super happy expression that would counter act this pose Number two stiffness. If you can bend it bend, it avoids stiff looking body paths. Number three bilges. Be careful that you're posing doesn't introduce. Balaj is in the modern skin. Even skinny models will have skin forwards when twisted in the wrong way. Leave a gap between body parts of possible number. Four. Near polish often see models with styled hair and makeup but terrible nail polish. It's either chipped or the wrong color for the concept, so have a little bottle off nail polish remover at hand and ask them to remove it if it's possible. Otherwise, you'll end up. This poses where you have to hide the hands and fixing nail polish and photo shop that's very time consuming, so try to avoid it. Number five hair. Be careful that the position off your models long hair doesn't look like a beard or armpit hair. Also try to avoid strengths off hair in front off your mortars eyes because it's tedious to retouch when shooting outside. Sometimes the direction off. So wind, actually, the Tates the shooting direction. So place your model in a way that the wind is blowing her hair back and it doesn't interfere with her face, although sometimes a wired look. That can be great, too. Number six marks on the skin. So if you're shooting nude or implied note. Tell your model toe. Wear loose clothes is before the shoot. The same applies to clients who don't want to wear their glasses at the shoot. Tell them to take them off at least 15 minutes before the shoot, so you don't have to edit out those marks on their noses. Number seven Hair ties. One off the easiest overseen item on the moderates wrist hair types again. It most likely will leave a mark, so try to remove it as soon as possible. Number eight. Jewelry and watches. Be careful that jewelry doesn't get tangled when shooting Exanta model. I once shot the most beautiful boudoir in much, but the model hearing Waas twisted. Luckily, I could replace the hearing with another image and voter shop, but it was time consuming. So if you're hired to shoot advertisements for jewelry and watchers, then be careful how you want to show them. If the model wears a watch on her wrist, it will be upset down from the viewers. Point off you. So in this case, it might be even better to have model holding the watch so that it's the right way around. Also, the glass off a watch that can be very reflective, so make sure you can actually see inside the watch. Number nine. Accessories and story. Be careful that accessories don't interfere with your story. I once saw a really weird shot off a woman showing her pregnancy belly, but the accessories were manly, like a black leather belt was a big silver backer and the really big, manly watch on the arm that was holding the belly. Very odd choice off accessorizing a pregnant session. Unless you're going for that Arnold Schwarzenegger Look in Junior Seau accessories like details. They can make all break the image, so be mindful. If you're adding an attraction or destruction. Number 10 twisted straps. Wrong buttons, entirely wardrobe. So probably the biggest No No. Make sure that the wardrobe Muslim free that buttons are buttoned up correctly and the dress or brass drops don't twist. Callus can also be a problem. Often one side is up and the as I want us down. So you need to correct that. So why can these mistakes happen in the first place? I am usually shooting from a greater distance. So for one, I don't like to crowd my motor, especially if we never worked together. I want to give her space and the feeling off freedom instead of confinement. And second, I left work with the long side off my lens for the best compression. Therefore, I need to move much further away, and I should for a long distance. So working like this has advantages, but it makes it really difficult to know to see small details, so make sure that you check your L City regularly and room in tow image as much as possible . This way, you can analyze details and fix the arrows quickly 77. To Fix Or To Destroy Part 3: The Right Model The Wrong Lighting: to fix ought to destroy Pat three The right modern, the wrong lighting and learn. My biggest secret. You made it. We are nearly at the end of our special ingredient recipe. Congratulations. You've learned a lot of tricks off our and now it's time you will learn my biggest fix or destroy secret in regards to posing and lighting. Maybe you have noticed that while studying my pictures most off my models only face toe one side, the left side. Remember that in the lighting section we talked about catch lights and that you need to place them at 10 o'clock or two oclock position depending on where your lights are. So these options as their correct But the secret is for most female models. I place my light onto my left side. The model faces towards her, right? Enjoying me? Her left part off the face. This post creates a catch light, a 10 o'clock position. And for many models, this look is the best. Let me tell you why 78. The Chocolate Side: the chocolate side. Years ago, I ran into a problem. I was renting a studio that was equipped with huge soft boxes. Biggest things ever, the soft boxes plus a strobes. They were fixed on two wheels, but they were really heavy to roll around. So, understandably, is owner unused. One set up, but it was this one. One soft bucks ride and one soft bucks left. So this set up men that it waas fled, lighting no shadows. But I wanted to shape the modern body, and the face was the right illumination. Therefore, I needed to change this original set up. One soft box was supposed to be the key light, and the as I one was supposed to be the fill light, and these lights and soft boxes they were paying for toe move. I needed to set them up before the model end at the studio. Otherwise, I would have bean drenched in sweat if I needed to change them while shooting. So it was a problem. Waas on which side should I place? A key light? So the Germans have saying, for some one's better half off their face. Shoko Aladdin's lighter meaning chocolate site How would I know beforehand which side off my client wants his or her chocolate side so I could pose them correctly. Toe what's the light source and to achieve the short lighting? No idea. So I opted to place my key light onto my right side and to achieves a nice short lighting effect. I've started to post a model facing towards the left, so the right side off the face was closest of me and in shadow. Nicely short. That's but now the strangest thing happened. Most off the models they started to pose this way because I said so. But when I told them, OK, now it's your time. Freestyle, Do whatever you want was an experienced model. At least they started to turn the other side, so their faces became broad lit because now they were turning their face to the right side and the left part off the face became fully visible. And let's so some models even mentioned after the shoot that they actually like the left side off the face. Better after 10 models, so did the same thing. I thought it was time to evaluate my lighting situation, so I looked at all these images off these models. And yes, I had a point. So the left side off their face was a little bit more photogenic, and they're right. And to be honest, this is also what I do. When posing for a snap. I instinctively turn my body to the right so that my face is visible on the left. I have heard that I waas onto something big, imposing and apparently science agrees with me. I found an article that says the following. 79. Scientific Proof - Left Side Best Side: KZ Blackburn and James Tree Reall from Wake Forest University, say is a work shows that images off the left side off the face are perceived and rated. That's more pleasant than pictures off the right side off the face. So they suggest the difference might be due to a great intensity off emotions exhibited on our left sides. So their work is published online in the journal Experimental Brain Research. So the next time, if you're wondering if you should pulls your models with their faces to the left or to the right, ask yourself. What would Leo Nadeau that when she do so, he had Mona Liza sitting down with the body to the right, meaning her left side off the face was closest to the painter, meaning little narrow. Davinci was obviously onto something to and agreed that Mona Lisa's left side Waas more photogenic or more easy to paint. Hence he considered it her chocolate side. Off course. The Serie isn't right for everybody. I have this weird suspicion that people who are more driven by emotions timeto have their chocolate side on the left, and people will consider themselves driven by logic. They tend to be more photogenic on the right side, off the face. So stereotypically speaking, women look better when turned to the right and men to the left. So if you don't want to believe me, test the syriza next time. Intruding obsession. Sometimes it's straightforward to figure out someone's chocolate side. So you look at the models hairstyle and you can figure out the preferred side immediately, especially when they're having bangs or fringes for my UK audience, so they fall into a specific direction. If the bangs are tied to the left, then the model has to turn to the right because otherwise you would shoot into the gap off the banks and not the bank's itself. But be careful. If the model is right handed and she's diets herself, she might only be able to put the happiest onto her right side off her head. So you might think now she wants me to shoot this happy, so she needs to look to the left so that it's visible but destroys a hairstyle or polls because the happiest is there by accident and needs to be placed onto the other side off her head to show her real chocolate side. Also depending on different eye or ear sizes. It can be beneficial to shoot left and right to see what looks better and when and out half the model turn slowly 360 degrees, because this way you get a really good idea. Only a tiny percentage off. The population has a truly symmetrical face, So why turn in York lines? It should help you to figure out they are chocolate side. If the model has a distinct side that looks better, you need to fix your lights accordingly, toe flatter him or her the most. 80. Ingredient Number 7: Lightroom Elevate Your Image To The Next Level: elevate your image to the next level with the right post production. I know that many photographer files are against the idea they consider photo shop is cheating and that it creates fake images. And I understand this point off you. Because photo shops lousy reputation, it often gets abused editors and beauty, photography or advertising campaigns, and the skin off the models often looks like plastic and not was a singer. Poor Ty's become freakishly wide and slim model. It's become even skinnier. However, I don't want you to fake your images. I'm talking about enhancing your images, so let's talk about the tools and tones and light room, camera, raw and photo shop. 81. Don't Do This In Post Production: number one don't abuse the clarity slider. I see a lot of photographers abusing the A. C. Hours or light rooms. Clarity's lighter. They think this lighter is excellent, too soft skin, but that's not the job. So the clarity's lighter lessons are increases the mid tones in an image. It's not mental soft on skin, so you can pull this lighter a little bit to the left to soft in or decrease in metal tonality off the image. But if you put the slider, oil's a way to the left. Then the skin tones appear muddy and not soft. Number two don't abuse the saturation slider, either, so be equally careful with the saturation lighter. It increases the readiness off the skin, and it can look burned, so increasing saturation was a vibrant slider that's often the better option. It leaves the skin color intact, as it only really enhances the color. Except Orange and Brett. Number three don't abuse the HD our option. So HDR images a huge trend a while back, and these were either than in camera with the bracketing option, and the residing images was an merged in photo shop or edge. The our simulated by opening up so Shero slider and decreasing the highlights lighter in a CR or light room. And many times the clarity's like I came back into play, but this time, by dragging it always away to the right for maximum sharpness and structure. But again, the design off the clarity's lighter is to lessen or increase mid tones, not softening Horsch happening in such an extreme, and when overdone, it creates halos in the image so strange chromatic aberration that brighten up the edge off your subject. Hence it looks like a halo. This look is a dead giveaway off HD our that went out of control so either through bracketing or light from manipulation. The colors are also often to revert and makes the image appear tacky. So if you are doing these HDR looks, try toe opens the shadow and the highlight areas and the saturation in the round off. Realistic and natural number four don't abuse the liquefy filter. The liquid five filter and photo shop is a great tour to slim down body paths. It can also help to make faces appear more symmetrical and can even enhance specific shapes . So, for example, bigger eyes or bigger smiles. However, it can easily be over them, so don't give him hundreds a completely different body to appoint with. They don't even recognize themselves. So in my post processing tutorials, I advised to step away from the screen and to come back to it with fresh eyes. If you still like the shape that you created, then that's great. As a wise, it's another example. Awful fix are destroyed. Your job is to enhance the image, not to become a plastic surgeon. So if you're using a portray reattaching software such as portrait professional, I bet you even more to learn on its the right techniques. It's often immediately apparent that somebody used the specific software. So the model's face and the body shape that just starts to look a natural, nearly as if somebody had cut the model and half and then copied one side until the other. Like a mirror reflection. Don't forget. Only a tiny percentage off models will have a symmetrical face, so if a person looks too perfect, it doesn't look pretty anymore. It starts to look creepy, as if the model is not a person but a robot and the same goes for eyes that over sharpened and i white. It is creepily white, so I'm not saying Don't use the software. Just use it in professionally and in moderation. Keep it natural. Number five don't abuse any filters and color effects, so the same applies to the oil filter in any painterly look. So if your client likes this kind off effect, then sure go for it. I think it can look over used and tacky, but again, it's up to you and your story. However, I would suggest discussing extreme styles with your client or your model before hands. Not everybody is a fan off such stylistic devices and looks. The same rule applies to CPR effects. It's just not everybody's cup of tea. And even worse, the selective color effect remembers a movie, Schindler's List. So this film was in black and white except for this little girl wearing a red coat. And many viewers try to analyze the idea behind this stylistic element that the red color symbolized blood or deaths or life was a just a dramatic effect. And since then, or maybe even before then, menu for Tarver files manipulate their images this way. So black and white photos off London, but was a red bus or telephone box or black and white images off Paris was the red heart shaped balloon. It can look really a tous stick, but sadly, it also overused and often poorly implemented. So if you want to create a black and white image, was red shoes or red lips than asking modeler or clines? If they like this, look. If yes, then you can do it. But it's essential to do it correctly. Room into the image when painting back the red color so that you don't accidentally paint over edges or paint on something that's supposed to stay black and white. If implemented correctly, Selective color can look Atis tick As I wise, it can quickly look messy, so use this technique sparely so it doesn't become over done. And last but not least, also think about any black and white conversion. And if the image looks classy and timeless, or if you created a set wolf scenario there as a editing tools out there in anything that enhances your image without distracting from it, it's excellent. So, for example, if you want to use an Instagram theater That's great as long as it doesn't look too saturated or to fake. So these figures include a sliding bar and you can die ataxia intensity off the effect to your liking. 82. ACR Five Minute Edit: does this and post production The five minute edit Number one. Get rid off distractions. Use the healing tour to get rid off senzo spots, lens flare, skin blemishes, dirt and any other forms off Distractions number to adjust your shadows. Highlights tonality overall tend exposure and white balance to add more interest to the image number three. When shooting and raw, the photos tend to be softer and less saturated than shooting Jay Pek, because here's a camera saturates and Chapman's for you, so adjust those sliders accordingly to your liking. Number four ticks The boxes remove chromatic aberrations and an able profile correction to eliminate the possibility off Artefacts and lens distortion was the transform tour. You can reduce further distortions number five. If needed. Straighten your horizon line and find a more interesting composition for your picture. Number six, if required. If you had to shoot with the high rise Oh, and find your image too grainy, reduced noise or if you're shooting a vintage concept at noise, those functions can enhance your image. Number seven. Think again, House of your Looks at the picture from Dr Bright, from less saturation to more saturation from soft to shop from left to right. Guides of US eyes by lighting end and hunting Onley parts off your picture is Erviti adjustment brush or the radial filter. These tools are fantastic to get the viewer to look at a specific part, enhancing only specific areas instead, off overall can add even more interest to an image number. Eight. Bring back detail or darkened adults guys and four grounds by using the radio. Future number nine. Turn your image in regards to your story was a split, toning option. You can tone your highlights, your shadows or both. My favorite is a movie look in firms often warm up any highlights and cool down the shadow area. Sometimes it can look as if you use gel lighting, but in reality you're only using the sliders to mimic the look. Or you can change red skin tones into a 10 when using the red slider in the calibration category or in ages adjustments. You can change specific tones. For example, blue in tow, aqua or you can create a dark. Ask I by dragging the Luminant slider to the left. So many options to style your image. Number 10 At a vignette the best way to get the viewer to look at your model at a vignette in the effect category that where you can also add noise, docking the sides off your image ever so slightly and immediately your view of a look at the center off the attention. 83. Thank You: you are at the end off the tutorial. Congratulations. Now you know the ultimate recipe for taking amazing portray it's and you will be able to shoot fantastic images every time. But like every recipe, it takes practice, and it might take some time to get it right. Also, as we said, all recipes are subject to taste. If you don't like Rose Marie, don't add it, living out our exchange with something else. The aim of Sister Tor is not that you photograph as I do, or that everybody produces the same images. That would be boring. But I do want to make you think about all your options because no, the ruins, then break them. And remember, there are always two people in every picture, the photographer and the viewer and the Adams. At the moment, you might also sing. Oh, that was a lot off information. How will I ever be able to reproduce these ideas and think off all of the elements? Well, portrait photography is not like making toast. You're not doing one thing, or as you might effort before, you are not just clicking the button. If you were making toast, then you wouldn't have wondered if you needed a recipe in the first place, but I promise it will become a lot easier end. It's room make so much more sense once you are doing it. In the end, we're come down toe these questions, goes through this list and ask yourself, As for story, the preparation face Did I think about a great concept? Check. That's my story. Have who? Where, when, Why and what check Will Milds Diet were complimentary. Was the concept check that I briefs of model was enough Concept details Check p the posing face. So I flatter my model. Was my posing directions. Do I need to evaluate my motor further with other positions? Work better check E for the exposure face. Do I have survived exposure for a dreamy and airy image or doing you toe at the reflector or camera flesh for a more dramatic outcome? Check. See for the composition face. It's my composition. Interesting. Instead, off boring. Is there enough negative space inside image? Is my model facing the right direction? Did I avoid the bullseye composition? Check I for the illumination face. Did I create the right denomination for my mother? Is there enough shadow to shape and slim down her face as a catch light at the 10 o'clock pupil position. Did I think about all the lighting options? Butterfly Rembrandt, loop lighting, short lighting roses, Broad lighting took a four ambience face. That's my image, Hafsa. Certain fear to it. Did I use the right background for my model? Did I fix or destroy all the elements that didn't look right? Did I pay enough attention to detail to avoid the game off Thrones? Disaster check as a light room postproduction face. Did I add more interest to my image? Was outgoing, Overbought? It's my horizon line straight did add enough lie to specific parts off the image to guides the viewer to the area that I want him over to look at. Is the white bands and exposure correct? As a told, it's interesting enough. Kota. Improve the composition check. Ask yourself these few questions, think about our special ingredients and showed amazing poetry. It's everything at a time, and if you have any questions, please don't hesitate to ask us anything in the Q and A section or is mentioned in off Facebook Group posing like a pro. We're looking forward to seeing your portrait with those special ingredients. Thanks for watching and happy shooting