Cinematography is an art, but some people have not truly grasped the real meaning of cinematography and cannot fully express it, resulting in photos that do not achieve ideal effects and are unsatisfactory. To capture landscapes or portraits with a sense of realism, making viewers feel as if they are there, that is when the realm of photography is reached. So, how can this effect be achieved?
How to pose for portrait photography?
The fun of human body photography!
Today, we will bring you into the world of portrait photography and share together [Wuhu Learn Photography http://www.whainisi.org]
Human body photography emphasizes curves, which are natural curves.
In portrait photography, if natural curves cannot be reflected, artificial curves or broken lines can be created.
For example: You can try bending or folding any part of your body that can bend, such as knees, fingers, waist, and neck, which are all movable joints. Try different combinations.
Diagonal line in portraits
When used well in portrait photography, diagonal composition can greatly enhance the vitality of the photo.
The main contribution of the diagonal line to the photo is to bring dynamic factors, so it is not suitable for taking [formal] photos.
For example, it's hard to take good headshots straight on, but if you tilt the camera slightly, the effect comes out easily.
Diagonal composition for large half-body portraits
When your model doesn't know how to pose, or doesn't have a great figure, or doesn't have great clothing, or doesn't have a great background, you can't say the model is unqualified. Photographers still have work to do. At this time, close-up shots and large half-body portraits are preferred [Wuhu Learn Photography http://www.whainisi.org]. Just by using diagonal composition effectively, you'll find that clothing, background, and even figure become secondary.
When shooting portraits in color, the background must be kept simple so it doesn't overshadow the subject, especially for large half-body and full-body portraits.
The following image uses a white background, simple, with the model's clothing color also simple, and the pose even simpler.
If there isn't a pure white background, a white or light-colored bedsheet can be used as a substitute, then use a flash to illuminate the background, and ensure the background exposure is at least 2 stops higher than the subject exposure.
Large half-body portraits refer to those that capture from the model's waist down to the knee area. At this point, most of the model's body, especially the hands, are included in the photo. 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 touch the hair, place hands on the waist. In many poses, the model places their hands on the thighs (at this time, the model should ideally look at the photographer), or bend over to touch the lower leg (at this time, the model should ideally look at the lower leg). Props like sunglasses, hats, and handbags can also be used to help pose the model.
The following image is a large half-body diagonal composition, with the model's hands placed on the thighs. Of course, at this time, the clothing is relatively avant-garde. (This is no longer portrait photography but fashion.) This image was taken in an underground parking lot with temperatures around 0 degrees Celsius, so the model's expression and pose easily achieved the desired effect. The clothing color, simple background, and the photographer's concept all coordinate harmoniously.
High angle diagonal line
The examples I've given actually simplify the model's work through composition; in fact, the model's pose is very simple.
The following image was taken with a 50mm standard lens at a high angle diagonal. Unfortunately, the color temperature is off, and the glasses on the model's head are unnecessary.
Front straight angle large half-body portrait
Refers to images capturing up to the model's knee area without using diagonal composition.
Besides the model's pose, the hardest thing to control is the background. If using color, make sure the background is simple.
Solutions include maximizing the background blur effect or using a simple background, such as a wall with a single color. If you're photographing friends, you may have no choice because they will likely want to shoot in colorful gardens or parks where the background tends to dominate. It's better to find models who can follow your directions.
Another method is to minimize the background, i.e., be bold in cropping! Why must there be space above the head in a portrait? Remember, in a half-body portrait, there's no room below, and ideally, there shouldn't be room above either—cutting off a small portion of the hair.
For instance, in the following image, notice: the right angle, simple background, coordinated clothing with the background, cropped head, warming filter or evening sunlight.
We now begin discussing techniques completely opposite to what we've discussed before: horizontal angles and upright camera compositions. We've all learned the basic theory of composition—to place the subject at the one-third point of the frame.
Let’s first discuss cases where the subject is not placed in the center. The biggest challenge here is balancing the image. Many people would add other objects beside the person, which is not ideal—it would overshadow the main subject.
The best approach is to use some "blurred" lines to fill the other side, such as the model's gaze. See the figure below: the model's eyes are at the one-third point, and the gaze lands on another one-third point. Notice there is no extra space above the model's head, the background is simple enough not to overshadow, and the colors match the clothing.
Speaking of backgrounds, the central idea is [not to overshadow], and the two basic points are:
1. Ensure the model is the most eye-catching part of the entire image,
2. Ensure the model's head is the most prominent part (unless the head is incomplete).
In this image, your attention is certainly drawn to the model's eyes.
Therefore, [generally speaking], unless you have special artistic intentions, black-and-white portraits should use black/dark backgrounds when the model's skin is light, and clothing color need not worry. However, if the background is white/light, the model's clothing should also be light.
The hand touching the hair.
Notice the shoulders—one high, one low.
Serious half-body portraits often adopt poses where the model leans forward slightly, with the front shoulder lower and the back shoulder higher.
As long as the model is wearing clothes, you can have her place her hands on the collar, for example, in this image.
Pay attention to the coordination of the model's arms (angles, heights). You will also notice that all the model's fingers in every image are bent (as mentioned earlier, everything that can be bent is bent). Why?
It's simple—if the fingers are straightened, they become too noticeable, risking overshadowing the subject! Unless the intention is to specially highlight the model's hands.
Among hand poses, the easiest might be placing hands on the hips, which looks quite natural.
Below is an image with a light background, but the clothing is dark.
Photography has no principles or set rules, but such handling attracts the viewer's gaze to the clothing for a specific purpose.
That's why swimsuits are always bright colors.
In the first image, 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, reaching the feet, is a domain that general portraits rarely involve. When done well, it certainly produces extraordinary results!
The viewer's eyes are guided by the model's hands, so at this point, the model needs to have a good figure.
Note that once the hands go below the waist, these poses tend to be more avant-garde. If your goal is not to shoot fashion, avoid having the model look directly at the lens while posing this way. Certainly, don't let her look at you, the photographer! Refer to the image of the pose with hands on the knees and pay attention to the direction of the model's gaze and the feeling it gives to the image.
Further down, the hands reach the ground. The difficulty lies in the fact that once the model is on the ground, she loses spatial dominance, and what angle will you, the photographer, use?
If the model is on the ground and you use a high angle looking down, it gives the impression that you are invading the model's space, especially when the model uses both hands to support herself and leans backward.
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