Photographing Women: 1,000 Poses PDF
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Photographing Women: 1,000 Poses Eliot Siegel Photographing Women: 1,000 Poses By Eliot Siegel Peachpit Press 1249 Eighth Street, Berkeley, CA 94710 510/524-2178 510/524-2221 (fax) Find us on the Web at: www.peachpit.com To report errors, please send a note to [email protected] Peachpit Press is a division of Pearson Education Acquisitions Editor: Nikki Echler McDonald Production Editor: Katerina Malone Proofreader: Emily K. Wolman Copyright © 2013 Quarto Inc. ISBN 13 978-0-321-81433-3 ISBN 10 0-321-81433-9 Notice of Rights All rights reserved. No part of this book may be reproduced or transmitted in any form by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information on getting permission for reprints and excerpts, contact: [email protected]. Notice of Liability The information in this book is distributed on an “As Is” basis without warranty. While every precaution has been taken in the preparation of the book, neither the author nor Peachpit shall have any liability to any person or entity with respect to any loss or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described in it. Trademarks Many of the designations used by manufacturers and sellers to distinguish their products are claimed as trademarks. Where those designations appear in this book, and Peachpit was aware of a trademark claim, the designations appear as requested by the owner of the trademark. All other product names and services identified throughout this book are used in editorial fashion only and for the benefit of such companies with no intention of infringement of the trademark. No such use, or the use of any trade name, is intended to convey endorsement or other affiliation with this book. A QUARTO BOOK Conceived, designed, and produced by Quarto Publishing The Old Brewery 6 Blundell Street London N7 9BH QUAR.TPPW 10 9 8 7 6 5 4 3 2 1 Senior Editor: Katie Crous Copy Editor: Liz Jones Art Editor: Joanna Bettles Designer: Lisa Tai Assistant Art Editor: Kate Ormes Picture Researcher: Sarah Bell Proofreader: Caroline West Quarto Art Director: Caroline Guest Quarto Creative Director: Moira Clinch Quarto Publisher: Paul Carslake Color separation by PICA Digital Pte Ltd, Singapore Printed in China by Hung Hing Off-set Printing Co. Ltd Contents Foreword About This Book Chapter 1: Technical Know-How Camera Angles Creative Cropping Effect of Lighting Secrets of Styling Hair and Makeup Incorporating Props Putting Your Subject at Ease Location vs. Studio Processing in Lightroom Digital Correction and Enhancement Chapter 2: The Poses Standing Jack Eames Straight Feet Crossed Shifting Body Weight Straight to Camera Leaning Sheradon Dublin Bending/Hunched Using Props Adam Goodwin Playing with the Dress Draping Accessory Clara Copley Side and Back Angles Over-the-Shoulder Gaze Back to Camera Roderick Angle Bri Johnson Sitting Angie Lázaro On Furniture Hannah Radley-Bennett On a Low Chair On the Floor/Ground Working One Leg Side Hip, Arms Extended One Knee Raised Both Knees Up On Steps/Stairs Outdoors Other On a Trestle Crouching Radim Korinek Front Knees Wide Side Leaning Back One Foot Forward From Crouch to Recline Perched on Heels Kneeling Eliot Siegel One Knee On One Knee The Side Scissor Hand/Arm Variations Both Knees Upright Using Pockets High on Both Knees Reclining Amy Dunn On the Floor On Hip Knees Raised Side Angle Leaning Back onto Hands and Elbows Diagonal On Furniture Movement Claire Pepper Leg Lift Turning Walking Paul Fosbury Running Running on the Spot Jumping Dancing Dynamic Dance Hair Clothes Apple Sebrina Chua High Energy Exaggerated David Leslie Anthony Studio Setting The Marionette On Location Bodywork Arnold Henri Standing Full-Length, Standing Using a Chair Sitting Sitting on a Chaise Sitting on Leg Kneeling Reclining Head & Shoulders Warwick Stein Front Side Turning to Camera Reclining Expressions Emma Durrant-Rance Radiant Smile Index Credits Key Photographer profile Sequence Foreword When I started taking photos of my friends in high school back in 1975 (pictures that were the seventies’ equivalent to your average Facebook profile picture of today), I never thought for even a moment that as an adult I’d end up working as a professional fashion and portrait photographer. As I progressed through school, I started absorbing some of the theory that I was picking up in my photography classes, and then I caught the bug: a serious passion for photographing anything and everything. Throughout my university years, I concentrated on becoming a full-time fine art photographer, shooting urban landscapes and edgy portraits of interesting people. It was then that a professor challenged me to combine my love of landscape and portraiture by trying my hand at fashion photography, my first commercial venture. Remembering my first efforts, and photographing the pretty young women at university, one interesting question kept arising. When the young, inexperienced models were in front of my camera, they almost invariably asked the same thing: “What do you want me to do?” Even young professional models today still ask that same question. Knowing what you want, as a serious yet inexperienced photographer, takes a fair amount of research. You should study all the magazines you’d love to work for and decide not only on the shooting style you’d like to adopt and make your own, but also how you want your models and subjects to respond to your cameras and concepts—how they should pose in the environments you create, both in the studio and on location. With nearly 30 years in the business, I’ve worked for highly respected fashion magazines from New York to Milan, Paris, and London, and shot for clients such as Macy’s and Bloomingdale’s in the USA and Nokia, Reebok, Marks & Spencer, Selfridges, and many others throughout Europe. I’ve always hoped to achieve a higher level of trained visual integrity, not only for my studio and location compositions, or due to my dedication to beautiful lighting technique, but also to achieve a sense of intimate communication and understanding between my subjects and myself. Creating an instant relationship with models in fashion and sitters in my portrait work is the reason I continue to commit myself to this profession. I’ve written this book as a handy reference guide to intelligent posing, and to celebrate the multitude of elegant, unusual, and even humorous poses that can be achieved by photographers and their models with just a bit of curiosity and investigation. I wanted to demonstrate that there is a pose for every garment, situation, and possibility under the sun. I’d like to thank the many photographers I’ve researched from around the globe who kindly contributed to this effort, not only by supplying their own brands of brilliant photographic work on posing, but also with their insightful words capturing their own take on the concept of the pose.
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