Cinematography is an art, but some people have not truly grasped its real meaning and cannot fully express it, resulting in photographs that do not achieve the desired effect and are unsatisfactory. To capture landscapes or portraits with a sense of realism, giving viewers the feeling of being there, is what reaches the realm of photography. So, how can this effect be achieved?
How to pose for portrait photography?
The joy of body photography!
Today, we will take you into the world of portrait photography and share with everyone.
Body photography emphasizes natural curves, as taught by Wuhu Hairdressing Training [http://www.whainisi.org].
In portrait photography, if natural curves cannot be embodied, artificial curves or angular lines can be created.
For example: You can try bending or folding any part of your body that can bend, which might yield effective results.
Joints such as knees, fingers, waist, and neck are all movable, so try different combinations.
Diagonal lines in portrait photography
When diagonal composition is used well in portrait photography, it can greatly enhance the vitality of the photo.
The main contribution of diagonal lines to photos is bringing dynamic factors, as taught by Wuhu Hairdressing Training [http://www.whainisi.org], making it unsuitable for formal photos.
For instance, it's hard to take good headshots straight on, but tilting the camera slightly can easily produce better results.
Diagonal composition for three-quarter length portraits
When your model doesn't know how to pose, or lacks a good figure, or has inadequate clothing, or lacks a good background, you shouldn't say the model is unqualified, haha; the photographer still has work to do. In such cases, close-up portraits and three-quarter length portraits are preferred. By skillfully using diagonal composition, you'll find that clothing, background, and even physique become secondary.
When shooting portraits in color, always keep the background clean and simple to avoid overshadowing the subject, especially for three-quarter and full-length portraits.
This photo uses a white background, simple model clothing, and a simple pose.
If you don't have a pure white background, you can use a white or light-colored bedsheet instead, then use a flash to illuminate the background, ensuring the background exposure is up to 2 stops brighter than the subject.
A three-quarter length portrait refers to capturing from just below the model's waist to their knees. At this point, most of the model's body, especially their hands, is included in the photo. Like a half-length portrait, the key is how to pose the model's hands.
There are many hand and arm poses. You can use the "bend" method mentioned earlier, or have the model caress their hair, place their hands on their hips, or put their hands on their thighs (the model should ideally look at the photographer). Alternatively, they could bend over and touch their calves (in this case, the model should look at their calves). Props like sunglasses, hats, and handbags can also help pose the model’s hands.
The following photo features a three-quarter length diagonal composition with the model's hands on their thighs. The outfit here is quite avant-garde (this is no longer portrait photography but fashion photography). This was taken in an underground parking lot with temperatures around 0 degrees Celsius, so achieving the required expression and pose was easy for the model. The clothing color, simple background, and the photographer's concept all coordinate beautifully.
High-angle diagonal
The examples I've given actually simplify the model's work through composition, and the model's poses are very simple.
The following photo was taken with a 50mm standard lens, from a high angle. Unfortunately, the color temperature is incorrect, and the model's glasses are unnecessary.
Frontal straight angle three-quarter length portrait
Refers to portraits capturing up to the model's knees without using diagonal composition.
Besides the model's pose, the hardest thing to control is the background. If shooting in color, ensure the background is simple.
Solutions include using a blurred background effect or choosing a simple background, such as a wall with a single color. If photographing friends, you may have no choice since they will want colorful gardens or parks, where the background often overshadows the subject. It's best to find models who follow your direction.
Another method is to minimize the use of backgrounds—be bold in cropping! Why must portraits leave space above the head? Remember, half-length portraits cannot leave space below, so it's best not to leave space above either, cutting off a small part of the hair.
For example, in the photo below, notice the right angles, simple background, coordinated clothing, cropped head, warming filter, or twilight sunlight.
We now begin discussing techniques completely opposite to the previous ones: horizontal angles and level camera compositions. We’ve all learned basic composition theory, placing the subject at the one-third mark in the frame.
Let’s first discuss situations where the subject is not placed in the center. The biggest challenge here is balancing the image. Many people would add other elements beside the person, which is not ideal—it would distract from the subject.
The best solution is to use some "soft" lines to fill the other side, such as the model's gaze. See the image below: the model's eyes are at the one-third mark, and their gaze falls on the other one-third section. Notice there is no extra space above the model's head, the background is simple enough not to overshadow the subject, and the colors and clothing match well.
Speaking of the background, the central idea is "not to overshadow the subject," with two basic points:
1. Ensure the model is the most eye-catching part of the entire picture.
2. Ensure the model's head is the most prominent part (unless it's incomplete).
In this photo, your attention is certainly drawn to the model's eyes.
So, "generally speaking," unless you have a special artistic intention, black-and-white portraits with a black/dark background and light-skinned models need not worry about clothing color, but if the background is white/light, the model's clothing should also be light.
Hair-touching hands.
Notice one shoulder higher than the other.
Serious half-length portraits often use poses where the model's body leans slightly forward, with the front shoulder lower and the back shoulder higher.
As long as the model is wearing clothes, you can have them place their hands on the collar area, like in this photo.
Pay attention to the coordination of the model's two arms (angles, height). You'll also notice that all the model's fingers in every photo are bent (as mentioned earlier, anything that can be bent is bent). Why?
It's simple—if the fingers are straight, they become too noticeable and risk overshadowing the subject! Unless the intention is to specially highlight the model's hands.
Among hand poses, the easiest is probably placing the hands on the hips, which looks very natural.
Below is a light-colored background, but the clothing is dark.
Photography has no fixed principles or theorems, but such treatment deliberately draws the viewer's attention to the clothing,
which is why swimsuits are always brightly colored.
In the first photo, the model's chin is extended forward, which is a rather "aggressive" action, unsuitable for overly serious models or overly serious clothing styles.
Hands moving further down, it's time for feet, which is a domain rarely touched in general portraiture.
If done well, the effect is sure to be extraordinary!
The viewer's eyes are guided by the model's hands, requiring the model to have a good figure.
Note that when the hands go below the waist, these are usually more avant-garde poses. If your purpose isn't fashion photography, try not to let the model's eyes look directly at the lens while posing like this. Certainly, don't let her look at the photographer! Refer to the photo where the hands are on the knees, paying attention to the direction of the model's gaze and the impression the photo gives.
Moving further down, it's time for the hands to reach the ground. The difficulty lies in the fact that once the hands are on the ground, the model loses air superiority, and what angle will the photographer use?
If the model is on the ground and you shoot from a high angle looking down, it gives the impression that you're invading the model's space, especially if the model's hands are supporting the ground in a backward-leaning pose.
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