The Art of Photography

Posing When I hear a photographer talk about posing a portrait subject, I'm reminded of the early days of photography when exposures ran into minutes and images were recorded on glass plates the photographer had coated with a light sensitive emulsion. Essentially all of the photos were of people posed in rigid positions, rigid and usually unnatural positions which could be held for minutes. Even today, many of the bargain basement retail portrait studios have not changed their poses all that much since those early days. Some will have an inventory of a certain number of poses which they go through for every session. As a result, all of their photos look alike; beautifully done perhaps, but still all have a similar look. The subject's face is the only difference. Memorable photos of people should not show them in rigid, static positions, but should instead use the subject's natural posture, their own natural gestures and attitudes to help record an images which is at least somewhat unique to that person. We photographers should at least aspire to rendering a person as an individual, a unique person with their own graceful posture. The subject should be shown in an attitude which is appropriate; appropriate to their own persona and appropriate to the intended uses of the portrait. The anticipated purpose of the portrait is important. We would not expect a formal business portrait of a corporate CEO to look like a casual portrait of a family member on vacation. Our job as portraitists is to help the model relax before and during a photo session and generate a look which is appropriate to both the purpose of the photo and its setting. If the session is with someone we have not

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met before, a little time spent chatting, learning a little about them and studying their natural facial expressions and hand movements can make the difference between merely recording a likeness and creating a memorable portrait. During this get acquainted chat, see how the person naturally places their hands, watch natural positions of their heads and shoulders. Just as everyone is either right or left handed, everyone has a stronger and weaker side; one side of their body is slightly stronger and more flexible than the other. When the person enters the rom, have them choose where to sit in relation to where you are physically located. If a person is more flexible on their left side, for example, they will usually choose a seat with their left side toward you. Have them turn their head to the left and right, then note the side which turns farther than the other. If their left side turns farther, that is generally the side which is more flexible. That means a photo with their head turned to the left, will show less strain in their shoulders and neck. That in turn will help to give the portrait a more natural and relaxed look. To the best of my knowledge there are no straight lines in nature, certainly not on the human body! Yet we often see photos of people with their arms straight and elbows and knees locked; we see photos of people standing, with their fingers straight and rigid. Straight limbs can definitely add a stiff and unnatural look to the portrait. When directing the subject into a position, have the arms bent slightly. Maybe not at an abrupt angle, but just a slight bend to help add a sense of fluidity and grace to the arm positions. A slight bend at the wrists can help hands to look relaxed.Watch out for the hands! Most people are a