posing

boudoir photography: couples boudoir photo session – gesture and connection

With portraits of a couple, the way they connect with each other is often the main factor whether the image is compelling. It could be through gesture and touch. The gesture might even be subtle – if a couple snuggles in, they don’t have to look at each other – it’s entirely possible to give that sense of connectedness, even with a downward glance. As long a it looks like they are concentrating on each other or responding to each other, it works.

With the image at the top, Olena and Austin are directly looking at each other, hands intertwined and legs touching. Connection clearly there.

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posing technique – adjusting a pose with incremental changes

I’m not a huge fan of “flow posing” where someone is rigidly posed according to formula. I feel this doesn’t allow as much for personality and individuality as a more organic approach. I much more prefer a low-stress approach where a pose is adjusted, to where it looks good, and looks flattering. This does mean that I have to find that balance between allowing “faults” and finessing a pose. Sometimes it just works better for the flow of a photo session to not micro-adjust to the point where your subject might feel it as criticism.

Memorizing poses from a book or guide is a good starting point, but in practice, you’d still have to finesse body, hands, feet and your subject’s head. You have to look at individual elements and fix and adjust.

With this photo of my friend, Irene, I want to show some of the thought-process. She was kind enough to allow me to post some of the more awkward in-between poses, as we finessed it along the way.

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photographers – becoming more confident in posing people

How to confidently pose people for portraits, is likely as big a challenge for new photographers, as how to use light. Even a model as professional and inventive as Ulorin Vex has told me that one of her biggest frustrations with photographers is when the photographer expects her to drive the shoot, and pose herself and come up with ideas. So yes, even when working with professional models, you need to guide them.

For me, the first step in becoming more confident in posing people was to practice. And practice by posing yourself while looking in a mirror ), and figuring out what looks good as a pose, and what just looks clumsy.

But the break-through realization for me was that as a photographer, the people that I am photographing, gave me permission to pose them. It’s not an intrusion to (gently) pose people so that they look good in front of the camera. Somehow, it had to eventually dawn on me that I have their permission. I don’t have to be shy and wonder if I should. In fact, I have to pose people when photographing their portraits.

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posing tips: pose the hands – asymmetry

Similar to the recent post with Jessica J as the model, where I placed her feet in an asymmetrical position for a more dynamic pose, I did the same when posing Anita DeBauch’s hands during a photo session.

In the companion photograph, you will notice that her hands are symmetrical around her face. While the pose does look cute, an asymmetrical positioning of her hands and fingers improved the pose.

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boudoir photography: dealing with mixed light – daylight & incandescent

Boudoir photo sessions can be nerve-wracking – not just for your subject or client who undoutably feels vulnerable, but also for you as the photographer. You have to juggle speed in shooting, with meticulous posing and (hopefully) impeccable lighting …. and still keep the flow of the shoot going, and also keep your subject’s confidence up. With this boudoir photo session in a NYC studio, I photographed my friend, Jessica Joy.

I wanted to use this window of  course, and incorporate the boxes. It all just begged to have my friend Jessica J sit on the window sill. The mixed lighting – daylight from outside, and incandescent from inside – seemed like it might be a challenge. One way would be to embrace the different color balance between daylight and incandescent light, or try to even it all out somehow.

I tried a stripbox with speedlights, but the light was too flat. Not bad, but all the nuanced available light was lost, and I wanted to retain the mood of the venue. I put away the flashes and softbox, and grabbed my Litepanels Croma LED video light (vendor). The Croma has adjustable WB, which was a big help here in finding a color balance that best suited the transition from window-light to Incandescent. I did allow the image to go much warmer for the interior and for Jessica, and not let the background go blue.

Here’s the setup, and let’s also look a bit at the pose …

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photography: posing tips – the leaning pose

Even when you’re photographing a bride as graceful as Patricia, there’s still a need to adjust and guide the pose. I liked the roughness and color of this gate, and I also knew the background would be an out-of-focus mush behind her.

When you ask someone to lean against something, they tend to fall back onto the wall or object, with both shoulders and their back flat agains the surface.

My starting point with this pose, is that I show what I want. Remember, people don’t usually know what you’re after, and they most definitely don’t know the composition you’re getting. So I like to get in there and physically show the pose. (And yes, she did laugh at me doing that.)

Then it’s series of gentle verbal nudgings to where the photograph will look good:
- roll against your (left) shoulder towards me,
- separate your (right) shoulder away from the wall,
- lean a tiny bit towards me,
- pop your knee out,
- use your hand to shape your body / leg / arm.
- drop your chin / lift your chin.

And with that, I’ve finessed the leaning pose that I showed to my subject.

With the leaning pose, those are my general instructions, and it usually gets us to where the photograph will look good! I don’t rigidly pose, but use a few verbal instructions to finesse the pose. In that sense, the way that I pose someone is fairly “loose”, and helps keep the momentum of the photo session going, because we don’t get stuck in the minutiae of every limb’s every position. We get to a point where “yes, this looks great!”, and then we move forward to the next place. The momentum is also important.

(This photo is from Patricia and Erwin’s wedding, where I was the 2nd photographer for JC Carley.)

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use light & lighting to add dramatic impact to your portraits

Simplifying your composition is generally a really good way to add impact to your photos – remove visual clutter, and draw the viewer’s eye to what’s essential. But there’s a converse challenge to this – when you have a location that isn’t necessarily that interesting , how do you add more impact? Light and Lighting is an obvious way to do this.

Create impact and drama in how you add light to the scene, and light your subjects. A recent article discussed this in relation to off-camera flash: using off-camera flash for that extra bit of drama.

For the romantic wedding portraits of Grace and Joseph, we were landlocked to a few rooms inside the venue because of the snow storm outside. Then it becomes a challenge to come up with ideas and use nooks and crannies, and make it all count! For the image at the top, we were in the room where they serve pre-dinner cocktail snacks and drinks. Nothing much there. But I came up with the idea of having Joseph sit on this table against this wall, and then adding Grace.

Posing tip: In terms of posing a couple, it is nearly always easier to start with one person, and then adding the other. Use the first person to anchor the pose. And I usually physically show them where to sit or stand or lean when I pose someone.

The pose works, now we just had to add dramatic light. Bounce flash would’ve flattened out everyone. Well lit, but too evenly lit. Off-camera flash with a gridded soft box would’ve worked like a charm as well – but as I most often do with the romantic portraits of a couple, I went with video light. This time around, I had more toys to play with, thanks to Ryan, the other photographer shooting alongside me, who had brought his video lights along as well.

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destination wedding photographer Aruba

photographing a couple – posing and composition

Re-editing and re-vamping photographs for my blog post of a destination wedding in Aruba, I found it enlightening to realize how much my style has progressed over years in post-processing too.

As part of destination wedding photography coverage, I offer extended photo sessions around the exotic locale after (or before) the wedding date. While we’re there, we may as well use the opportunity.

The photograph at the top was taken on the day after the wedding when we took a rented car and drove around the arid areas of the island – away from the touristy parts. There was a short rainstorm while we were driving, and the landscape looked really crisp. Offsetting the couple against this landscape just seemed like a great idea. I posed them into the light. I had various compositions of this, but liked the off-center image the most.

In this way, for any single setup, I always shoot wide & tight; vertical & horizontal; high & low viewpoints. This way I get a variety of images, and in the culling process later on, I can pick the few that work, or give me the most variety.

But there’s usually more than just one photograph …

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posing tip – check the wrists and hands

In posing, a good tip is to have the wrists and hands form a kind of S-curve instead of being straight. While this photograph works for me,  and I really like the composition and her direct gaze into the camera … I should’ve guided Anelisa to bend her left wrist (the hand closer to her cheek), a bit more. That would’ve made her gesture a touch more elegant in this photograph at the top.

Of course, in analyzing your photographs closely, there is (nearly) always something to pick up on how you could’ve improved the final image.

Here is another photograph in the sequence, where you’d be able to clearly see the difference a change in the pose would’ve made …

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available light photography: direction of light / posing into the light

A topic that I’ve given more and more attention to here on Tangents, is available light photography - but specifically the concept that it isn’t just a random way of taking photos, but that consideration has to be given to the direction of light. When you work with someone you want to take a portrait of, it is crucial that you pose someone in flattering light. This often means posing someone into the light, with the one shoulder toward the direction of light. This idea works for even the simplest of cameras.

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