I’ve looked at several magazines – primarily Practical Photographer and Digital Camera – and also studied the ‘Posing for portrait photography’ and ‘Photographing people’ books already mentioned, to consider the poses being made for portraiture. The general groups of posing include: standing, sitting, squatting, lying, kneeling, crouching, and all fours (cat crawling).
It’s worth considering the body language portrayed in each of the poses, which could change the whole connotation of the image, so care must be taken when suggesting the positions.
The location and props will also affect the message of the image.
The shooting angle and camera position can also change the presentation of an image, so this can be varied in the session, to give a more varied selection.
I’m going to use standing, sitting and lying for this exercise.
Some poses that could be used within these main groups are:
Standing:
· Hands on hips – high and low shooting angles – This can display dominance or anger.
· Arms behind back – stay away from me.
· Hands in pockets – showing an easy come / easy go stance
· Arms folded – high and low shooting angles – Can show displeasure or judgement.
· Arms high and wide – make the triangle – displays a carefree, happy situation.
· Arms outstretched towards camera (palms up) arms together / apart – straight or high shooting angle. Displays openness or pleading depending on the expression
· Legs together / legs apart can change the meaning of any of the above poses.
· The angle that the torso is held can change the appearance of bust and waist lines.
Sitting:
What the model is sitting on affects the possibilities – sitting in front of a table offers different poses than using a chair only, sitting on steps can offer more situations (sprawling back, pulling the knees in and resting the head etc.
Considering the use of a straight chair with no other prop we could have:
· Sitting straight on to the camera – knees together and hands on lap. This could portray primness or insecurity.
· Legs crossed / arms folded – Defensive.
· Legs apart – hands on knees - Openness
· Arm over the back of the chair – comfortable and easy going.
· Arms apart towards camera– high shooting angle – inviting or pleading.
· Arms towards camera – offering or presenting
· Chin in hand – contemplating
· Hand on chin - suspicious
· Hand behind neck - stressed
· Chair turned round – legs apart / arms on chair back – interested but protected.
Lying:
In the supine position (laying on the back)
· Arms to the side or crossed on the chest, legs straight out and staring straight up – almost the death position - may suit Goths, but not a generally accepted portrait position.
· Hands locked behind the head and looking straight up – contemplative
· One arm behind the head with the other across the waist and one knee raised – relaxed
In the prone position (laying on the front) and / or body on one side
· Head and shoulders lifted on elbows, or with the chin supported by both hands – could look fun or cheeky, but interested.
· Arms folded and legs bent at knees and crossed – relaxed and inviting
· Body twisted to face the camera, on one elbow, or chin supported by one hand – interested / inviting
I planned to use our grand-daughter for the session, but I wasn’t happy about posting images of her on the internet – she’s only 13 and there are lots of opportunists out there. Viv again agreed to be my guinea pig for this exercise. As you’ll see, some of the poses I’ve suggested above won’t work for her, as she was born without a left hand.
We needed an area where a fairly long lens could be used, so as soon as the weather permitted we went to the bottom of our garden. I decided that the lighting would probably be OK, with a light cloud cover and using the shade of the trees, which made it easier for moving around as she posed.
We started with the standing poses:
Using the existing props
Having something to do with the hands makes it easier to pose. She’s probably too square on to the camera in this image and the dappled light on her face isn’t good, but it’s a starting point and tells me that I must think more about what I should be looking for as well as setting up the poses.
Framing for an upper torso and head image would have been better than a full length shot.
f/4.5, 1/800 sec, 24 mm (35 mm equivalent: 36 mm)
Hand on hip
This pose lifts her bust and thins her waist. Turning her body away from the camera helps this.
Maybe her head was held too far back. The lighting could have been better too.
f/4.5, 1/800 sec, 24 mm (35 mm equivalent: 36 mm)
Hand on hip 2
The same set-up as the previous shot, but the tighter framing on this image now shows the arrogant ‘look at me’ pose much better.
Using the longer lens setting has made the image much more flattering.
f/4.5, 1/1250 sec, 46 mm (35 mm equivalent: 69 mm)
Hand in pocket
This gives a much more casual look. She’s looking more relaxed and getting into the session now. Again, twisting away from the camera has flattened her stomach.
Leaving her thumb outside the pocket tends to make her looked relaxed rather than slovenly if it were completely hidden – this may not work the same for male portraits.
f/4.5, 1/800 sec, 26 mm (35 mm equivalent: 39 mm)
Arms outstretched
This pose has flattened her figure considerably. Using a longer lens would have made it much better too, but the advantages of this type of position are obvious.
f/4.5, 1/800 sec, 22 mm (35 mm equivalent: 33 mm)
Arm outstretched
The expression on her face with this pose shows openness and welcome. A different facial expression could change it into a pleading look.
The lens is far too wide for this shot, making her hand look too big. I should have moved her out of the direct sunlight too.
f/4.5, 1/800 sec, 22 mm (35 mm equivalent: 33 mm)
Arms folded with low shooting angle
This image shows displeasure.
The low shooting angle and wide lens setting make her legs look longer.
f/4.5, 1/800 sec, 20 mm (35 mm equivalent: 30 mm)
Arms folded with high shooting angle
This angle has made her legs look shorter. The displeasure has been lost because she can’t stop smiling. It’s just a fun image and not one that would be a credible portrait shot.
f/4.5, 1/800 sec, 32 mm (35 mm equivalent: 48 mm)
Hand on hip – high shooting angle
Again, this high shooting angle has shortened her legs and made her upper body look over heavy. The twist of her body is nullified by the effect of this shooting angle. It’s another fun shot, but not suitable for a portrait (even if she is enjoying herself!)
f/4.5, 1/640 sec, 28 mm (35 mm equivalent: 42 mm)
The sitting poses are as follows:
Knees together. Hand on lap
All prim and proper. She means business so don’t mess with me! Sitting high on the arm of the seat has made her look more domineering.
The ‘normal’ lens setting and shooting angle have brought her features back to normality.
f/4.5, 1/800 sec, 34 mm (35 mm equivalent: 51 mm)
Knees slightly apart. Hands on knees
While she doesn’t look comfortable with this pose, I think it shows her as being more interested in the viewer. The look is much more direct than in the previous image.
f/4.5, 1/640 sec, 34 mm (35 mm equivalent: 51 mm)
Legs crossed – open. Sitting high
This pose makes her look more confident and in command. The shooting angle and pose work well for her figure too.
f/4.5, 1/800 sec, 34 mm (35 mm equivalent: 51 mm)
Legs crossed – open 2. Sitting high
The shooting angle and pose work well for her figure, but she doesn’t look comfortable, so the image doesn’t work as well as the previous one.
f/4.5, 1/800 sec, 34 mm (35 mm equivalent: 51 mm)
Knees apart – hand on knee
Not the most complimentary of looks, so not one I’ll be revisiting.
f/4.5, 1/800 sec, 34 mm (35 mm equivalent: 51 mm)
Sitting low. Knees apart. Arm supported
She looks much more comfortable here, so more relaxed. This pose and shooting angle work well for her figure. If the sun hadn’t brightened as much and with some diffused side lighting, this could have made a good image.
The longer lens setting has made her features more realistic.
f/4.5, 1/500 sec, 42 mm (35 mm equivalent: 63 mm)
Hand supporting chin – close cropping
I like the realism of this image. The longer lens setting and the cropping work well. It’s a shame that the sunlight has made her squint slightly.
f/4.5, 1/800 sec, 130 mm (35 mm equivalent: 195 mm)
Contemplative
As with the previous image, the pose and camera settings work well. She looks comfortable and relaxed. I think this image shows her character well.
f/4.5, 1/800 sec, 130 mm (35 mm equivalent: 195 mm)
Sitting low – legs crossed
Having the arm support has made her look comfortable and confident. The pose is good for her figure. The lens setting has prevented any distortion. I like the result.
f/4.5, 1/800 sec, 35 mm (35 mm equivalent: 52 mm)
Sitting low – ankles crossed
The same comments apply as for the previous image, except that it’s not as flattering for her figure. Nevertheless, it’s still a good portrait pose.
f/4.5, 1/640 sec, 35 mm (35 mm equivalent: 52 mm)
The lying position images follow. The wet ground meant that the beach mat had to be used:
Supine at rest
The shooting angle here is not at all complimentary. I don’t think it would be from any angle, but worth the experiment.
f/4.5, 1/640 sec, 28 mm (35 mm equivalent: 42 mm)
Supine facing camera
This is slightly better, but still not one to revisit.
f/4.5, 1/250 sec, 62 mm (35 mm equivalent: 93 mm)
Supine facing camera with arm behind head and knees raised
This doesn’t work either. I tried several shooting angles but none were satisfactory at this lens setting.
f/4.5, 1/500 sec, 28 mm (35 mm equivalent: 42 mm)
Supine with arm behind head and high shooting angle
This is better. It’s the only image from all the supine position ones which has potential. Maybe with more subdued lighting this pose could work.
f/4.5, 1/500 sec, 62 mm (35 mm equivalent: 93 mm)
On her side with arm supporting the head
Turning her head away from the sun has stopped the squinting. She’s been very sporting but the discomfort is starting to show.
f/4.5, 1/320 sec, 56 mm (35 mm equivalent: 84 mm)
Prone position – supported by both elbows
This is much better. It’s complimentary for her figure and the light isn’t in her eyes. The much longer lens setting shows her features without distortion. With all these prone position images it was important to advise her of the depth of cleavage being displayed.
f/4.5, 1/800 sec, 70 mm (35 mm equivalent: 105 mm)
Prone position – supported by both elbows with ankles raised and crossed
This is much better. Again, it’s complimentary for her figure and the light isn’t in her eyes. Raising the legs has brought jauntiness to the image – the camera angle could be better, so it doesn’t look as though her feet are coming out of her head.
f/4.5, 1/800 sec, 40 mm (35 mm equivalent: 60 mm)
Prone position with legs raised and chin supported
This works well too. The movement of her feet is a distraction but that’s just another point to consider for the future. I still like this pose.
f/4.5, 1/640 sec, 70 mm (35 mm equivalent: 105 mm)
Prone position with hand moved away from the chin
This pose just happened. I like the way it’s moved her head slightly to the side. It’s got a cheeky look to it that really suits her.
f/4.5, 1/640 sec, 62 mm (35 mm equivalent: 93 mm)
Prone position with hand supporting the chin and head turned towards the light
Turning towards the light has a good effect on her face, but she’s grown a foot from her right shoulder – must take more care!
f/4.5, 1/400 sec, 62 mm (35 mm equivalent: 93 mm)
It’s been an interesting exercise, with some surprises and a lot of reminders about the attention which needs to be paid to the job in hand. I’m sure that the mistakes I’ve made here can be learnt from when it comes to the assignment.
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