While the most unnatural, and sometimes even grotesquely contorted, poses struck by female models may make us wonder what is going on in the minds of the creative directors. Anguelov et al. SCAPE learns pose- deformation as a completely separate phenomenon from their PCA-based identity-variation model, and then combines the two modal- ities when a new shape is synthesized.
Our method first captures a In our case, two meshes Mi,Mj have already aligned with Offenders posing high risk of serious harm and sex offenders. Chapter Six: Ending the sentence The guide sets the context, then follows chapter by chapter the stages of the woman offender's journey through the CJS In addition, the Good Lives Model is a strength-based approach that is responsive to the offender's High quality color images, KHz bit sound files, video sequences and a 3D model.
Variations in pose, illumination,. Generative 3D shape model covering the face surface from ear to ear and a high quality texture model. In , the significance of this relationship disappeared when. Herbert, Members in the administration of physique sports August 14, September 25, Gallery Guide The models often are found in highly arranged classical poses, and were.
Nov 3, Once you find something that works, consider why, and look for other tools that are similar that may work as well. The rigidity and built-in levels of steps help single subjects and groups pose nat- urally and comfortably.
On the surface, it seems that photographing a subject or group doing what they enjoy should be easy. For example, during the consultation session with a family, you may learn that they enjoy camping, baseball, wood- working, etc. This pro- vides you with topics to discuss during their por- trait session to relax them, and also with possi- ble themes to use to cre- ate an interactive portrait.
You could photograph them setting up a tent or around a campfire, at the ball diamond, or building a new set of The information gathered at a consulta- birdhouses.
With the exception of individuals who believe a portrait tion session can provide possible must be formal and in front of a painted background, the subjects themes for interactive portraits. You will be capturing a piece of their personal family history and love for each other. Although clients will tend to be more forgiving when buying this style of por- traiture, poses that make the individuals appear heavier, or make their clothes uneven, or make a group look unbalanced will not sell well regardless of the fun they had during the session.
The images may not sell well both because the subjects may not be happy with how they look, and because you may You may face working more with profiles than normal, know you could have done better and which may be a test of your posing capability.
Remember, you are compressing three dimensions into two, and what may look great visually may not look good on the final portrait. Also, you may face working more with profiles than normal, which may be a test of your posing capa- bility. It is much like the challenge of photographing a mountain range.
A valley of flowers towered over by a grand ridge of snow- capped peaks may be breathtaking, but capturing it all on film is a great challenge. Relative to the pose of the sub- ject s , does your camera angle or lens your eye look throughout the portrait? Is attention directed to one particular subject or does your eye look throughout the portrait?
Often, having members of a group focus their attention on a certain point in space, a subject, or one specif- ic member of the group i. Being in control of the technical factors of photography and remembering sound posing techniques will allow you to be ready to capture personal interaction either as it happens or be able to recreate it quickly and convincingly.
Interactive portraits demand skills in the technical aspects of photography as well as sound posing techniques. The growth of the portrait industry, competitive forces, and societal influences have forced more detailed and elaborate portrait sessions, with few exceptions. The high school senior market is an excellent case in point. There are two ways to attack this problem. Some photographers only photograph a few seniors per day and spend a few hours with each, allowing for time for rest and rejuvenation between set changes or traveling to dif- ferent locations.
Thus, their sessions are truly a series of many mini- sessions, starting fresh at each one. Other photographers schedule a large number of seniors per day and strive to build up maximum Sprint sessions have a high energy level throughout, excitement and then fly through one session. Endurance type ses- sions provide more time for the photographer and subject to become more comfortable, but sometimes, even with breaks, both the photographer and subject may become tired or bored.
Adversely, sprint sessions have a high energy level throughout, but may risk making the subject feel rushed or unimportant. Neither the endurance, nor the sprint type sessions are right or wrong. Either style you choose will be aided by a few posing concepts that will help maximize your sales and efficiency: SHOOT IN SERIES If we accurately position the subject from the ground up, there are a number of opportunities to photograph him in the same basic overall pose with different camera angles, crops, and expressions, If you position the subjects from the ground up, there are multiple options for photographing them with different camera angles, crops, and expressions.
For example, a full-length sitting pose may look great for a three-quarter-length pose, and a close-up pose. If a pose works, maximize its potential. Shooting in series works well with insecure and unmotivated sub- jects. The more images you take without spending too much time repositioning him, correcting him, etc. Wedding party portraits at weddings are the perfect exam- ple.
First, start with the bride, then add the groom, then add the best man and maid of honor, then add the rest of the wedding Always offer to break a large family group or staff party, then photograph the men and then the women, etc. This system group down into additional subgroups or possibly adds continuity and saves valuable even individuals.
Plus, you reap the added benefit of drawing on their recent posing experience as you progress. Always offer to break a large family group or staff group down into additional subgroups or possibly even individuals. Each individual group will have a meaning your clients. Poses must be tailored to fit the individual.
Again, the con- sultation session will be very valuable. Knowing what the subject does naturally and analyzing her potential for different poses will pay off later in sales.
Common sense should prevail, and usually, if it looks good, click the shutter! Try a few non-tradi- tional poses for the subject and for your own artistic interests. Done well, they might attract attention to your work and serve as marketing tools that will bring in additional clients and sales in the long run.
Combining good posing, composition, and sales techniques will lead the client to buy a larger portrait for a couple of reasons. When the subject is rela- tively small in the scene, larger prints are necessary to properly show him. The client may be more likely to hang a large portrait in his home if it is more of an artistic scenic piece than the typical smiling Environmental portraits like this may head and shoulders portrait.
Also, the client may find it easier to encourage clients to purchase larger purchase a large image that shows something he treasures, such as portraits to hang in their homes as art his farm, home, car, etc.
The worst part of photographing portraits on- location is that each location is unique. The on-location portraiture market is just waiting for you to enter. Breaking the location down into these three elements None of these locations are your cam- will make your sessions more efficient.
Breaking the location down into these three elements will make your sessions more efficient, improve your portraits artistically, and make them more saleable. Whether you are working indoors or out, you should aim to replicate your main light source, fill light source, etc. This is oversimplifying lighting for on-location por- traiture, and the topic is worth volumes in itself. But the funda- mental viewpoint is accurate. Three lighting issues deserve particular attention since they affect how and where you will pose your subject s : intensity, qual- ity, and direction.
If you have some flexibility about where to pose, you will look for light intensity that is within a controllable exposure range, light quality which is appropriate for the theme of the portrait either hard or soft , and light direction which can be used to cre- ate dimension a. Leon Kennamer, a legend of environmental portraiture, used trees or similar structures to help identify good portrait loca- tions.
If you examine the light falling on the tree, it will tell you the intensity of the light by how light or dark it appears, it will tell you the quality of the light by the hardness or softness of the transition between highlights and shadows, and it will tell you the direction of the primary light source by the placement of highlights and shadows on its circumference. Deep shadows underneath the eyes are telltale signs of a hard light source coming from overhead.
Windows and water bodies are unique light sources. Due to their relatively high brightness level in a portrait scene, they are often too bright and distracting, except for high key type portraits. Try photographing at an angle that is clos- er to parallel to them as opposed to perpendicular. The difference of brightness of daytime sunlight entering a normally lit room through a window and the reflective qualities of water make them excellent primary light sources if their intensity is within your con- trollable exposure range.
Light reflecting off of water can be par- ticularly useful on dull days where other locations appear too flat. Once you have identified the primary light source involved, you will use it to position your subjects. This maneuver will define and Once you have identified the primary light source enhance the shape of the subject and maximize the color saturation and involved, you will use it to position your subjects.
Scene brightness is another issue dealing with light, not as a light source, but how it falls on different areas in your image scene. Basically, determine if these areas are illuminated properly to draw or divert attention and to complement or contrast your subject. To create depth and draw attention to your subject s , try to find angles and cropping points that highlight your subject and let the background areas receive more subdued lighting.
Sky above and between trees or that are overly bright and distracting. Using a higher camera Here, the colored leaves set the mood angle may be the remedy. If you have uneven, uncontrollable light without overwhelming the subject. Experimentation with camera angles, lens focal lengths, and subject placement are important for control of scene composition when you are attempting to include a secondary subject matter.
Again, the compression of the three visual dimensions into two on film presents a challenge when trying to include a secondary sub- ject, especially when it is quite large, like a house. Choose angles and lenses that place the subject toward a corner of your image and the secondary subject toward an opposite corner. Camera angle and lens selection are significant when photographing a portrait indoors, also.
They will determine what parts of the interior are included within the final portrait and which will be left out. Although composition can help place your subject, it can limit your posing opportunities and you Although composition can help place your subject, it must be able to adapt.
For example, a high camera angle required by the can limit your posing opportunities and you must be scene composition may make your able to adapt. So, you will either need to change the cam- era angle or the height of your subject by changing his pose or adding a posing tool. Use them to create depth in your portraits and to devel- op dynamic arrangements of groups. Certainly, you can take your favorite posing tools out of your camera room and use them on location.
However, the same factors apply when looking for existing tools or levels as do for your camera room posing tools: size, shape, com- fort, and safety See Posing Tools. Look for furniture, rocks, logs, etc. Posing levels can be simple natural rises or slopes in the land- scape or steps, or be as complex as multistory architectural struc- tures. Look for groups of levels that are arranged dynamically in a triangle or at a diagonal. Mounds of land are perfect posing plat- forms for families, because they naturally place the individuals in a triangular arrangement.
Positive client involvement can make your job easier, and more rewarding. Knowing that they are truly excited about having a portrait made is exhilarating! Plus, the more they are involved in the process, the more Educating your client base is the most effective way to willing they will be to invest in your help your clients help you. They may only know portraiture by something they saw on a television show, by their experience at the department store studio, or by their church directory session.
Educating your client base is the most effective way to help your clients help you. This will not happen overnight, though. Again, the consultation session is a powerful tool. Consistently showing quality portraiture in your advertising and displays will pay off eventually as well.
But the best way of all is from word of mouth. If you do a good job for a family, for example, they will tell others about your work and show them their portraits. We want our family portrait done just like theirs. But you know that it is not appropriate for them. More often than not, they will pick what you felt was best. Knowing how the clothing conforms to the body, how fabric folds, and how it reflects light, are all issues in posing since it may draw attention to specific areas of the body and have positive or negative effects.
On the positive side, it can be arranged to flow and form triangles and leading lines and improve the composition of a portrait. On the other hand, if not handled properly, it can become bulky and add the illusion of extra weight. Let your clients know that it is important that their clothing fits properly. A common clothing conflict is a mismatch of clothing style and the portrait theme.
Many people feel that you must wear formal clothing, but choose to have an informal outdoor portrait. Suits and dresses often look out of place sitting in the grass or leaves. Some particular clothing items pose special challenges. Hats cast shadows and are sometimes better held in hand rather than worn. If your or even losing your client. A more desirable alteration would be to move the main light source or add a new one with a flash or reflector.
Suit coats wrinkle and buckle easily. Try using standing poses for head and shoulders por- traits instead of sitting to help to avoid these problems. Lettered jackets are popular with high school seniors, but the words may be difficult to read when worn.
Many lettering problems can be solved through simple positioning of the fabric and experimentation with different poses and camera angles. Sometimes hanging it on a hangar next to or behind the subject will help. Hair length is the most obvious factor that affects posing. Long hair is more versatile than short hair. It can be arranged in different ways.
It can be flowing. It can blow in the wind, and so on. But it can also cause problems. Try to keep long hair from falling around the neck and form- ing the appearance of a beard. When your subject tips her head to one side, her hair may get caught.
Try having the subject move her hair completely behind her, or move her hair in front on the side her head is tipped toward. For both long and short hair, be aware of the light falling on it. Light will change For portraiture, long hair is more versa- the appearance of hair shape, color, and brightness. Unless you have a large crew and a Hollywood set, photographing an individual with his car, horse, harp, etc. As compared to the portrait of an individual alone, these types of images can become very challenging as posing, lighting, background, and spatial concerns grow exponentially.
When posing your subject with a vehicle, it is often the case that you find a location the vehicle can be driven to safely and that has even lighting. Then you can position your subject accordingly. Keep in mind that the vehicle may be as or even more important to the client than the subject s posed with it. So, make an effort to ensure it look its best as well. Try to schedule these sessions either early in the morning or later in the evening, if possible, to make use of the softer lighting conditions.
Dull days are also good. The light on the vehicle will be even and then you can add artificial light to illuminate the subject. Once you have positioned the vehicle, experiment with differ- ent ways to pose your subject with it. Vehicles provide a variety of areas to lean against, which is particularly useful for a male subject. Sometimes you can place a woman or child directly on the hood or roof of the vehicle. For all poses, however, you must try to exercise good posing methods to flatter the subject.
This can be awkward, since you are using uneven surfaces to pose on or against. This means that exper- imentation with various poses and camera angles is essential. Besides posing the subject directly with the vehicle, try posing him normally on the ground or next to another structure or tree, with the vehicle as a secondary subject in the background.
This tech- nique is useful when the vehicle is very large, such as an airplane, Posing on uneven surfaces, such as a and will be too dominating when you pose the subject close to it.
Posing with any size animal can try the patience of any pho- tographer. Posing a two-year-old child with a cat may just be the ultimate challenge! Posing with large animals such as horses, cows, etc.
Again, it is a matter of posing the animal and then adding the subject. Practice, planning, experience, and flexibility are priceless.
It is also helpful to have photographed the subject previously without the animal so that she has some pos- ing experience and is familiar with your style and directions. Posing the subject with an animal is very similar to posing with a vehicle, except that you must be quick to pose the subject once the animal is positioned.
Rarely will the animal hold a pose for more than a few seconds unless it is specially trained for shows. Occasionally, your clients will ask to be photographed with items that are not exactly ordinary and not something you photo- graph every day. For example, they may want their musical instru- ments, their large paintings, their collections of rifles, etc. Besides your basic photographic experience, your willingness to learn about their prize possessions or hobby will play a major role in the success of their final portraits.
Let the subject tell you what is important about his specific item. It is important to him, and he probably knows much more about it than you do. Ask him if he has examples of similar images, possibly from magazines, books, etc.
Be careful when posing with instruments or other devices to not position it or the subject in such a way that is inac- curate. When photographing the businessperson, control of the attitude of the final portrait deserves special attention.
You will need to position the subject to properly project his position or personality. In either case, you should be prepared to work comfortably under time restraints, spe- cific demands by advertising departments, and with problematic personalities. Challenge yourself. Study other art forms and transform them into your por- traiture.
Not only may your experimentation yield fine pieces of art, but also it will provide you with new twists to use on your every- day sessions. Also, it keeps you fresh and helps to prevent burnout. Always be on the lookout for new ideas for props and posing. Who knows? But the inspiration and education you gained by doing it could be much more valuable in the long run of your career. Otherwise, your client will sense your despair, she may question your abilities as a profes- sional, and she will become more tense and difficult to pose.
Again, educating the client beforehand will help minimize such surprises. If she is insistent, let her know that you will do your best. Even if they are not your personal favorites, sometimes you will find simple poses that sell again and again. When you find these, use them! Photography is not only an art, after all. Work fast. Be ready for any- thing. Try anything. Timing is everything.
You rarely have the luxury of building a rela- tionship with your subjects in this case. They get tired, bored, and upset easily. Have your set ready backgrounds, lighting, camera, etc. Work as a team if possible, usually with their parents. One watches their safety and one helps you gain their attention and expressions. Be Patient and Flexible. Find out what posing tools, words, etc. Each child is different and will require different treatment.
Babies especially have a short field of vision. So them more comfortable. Use a soft, consistent, happy tone of voice to relax them. Have a few toys and stuffed animals that may natural poses. Also, pets such as birds and fish at your studio work well as welcome distractions from what is other- wise an unfamiliar place. Physically, the innocent eyes of a child are priceless in portraiture. Steps make great posing tools for small children. They help them sit erect and comfortably, because they are well supported on their bottoms and their feet.
Also, steps are familiar to them as compared to posing stools, etc. Posing tables are also helpful to bring them to a height where they are more accessible and at a better viewpoint for your camera. As a general rule, give a child room to grow in the overall layout of his portrait. If there is an obvious problem, start simple with familiar clothes, and work toward the desired outfit. Avoid constricting, tight pieces of clothing if possible.
A long-time favorite of baby photographers is the beloved bottle of bubbles with the bubble wand. Also, they can magically change a mood of a session in a second. A doll, a ball, a book, etc. Their portraits and portrait sessions are an important step in their life at the time. Make the session interactive.
Have fun yourself. They will feed off of your excitement if you let it show. It will help minimize awkward peri- ods of silence that will make them uneasy.
Be Flexible. The seniors are individuals and are proud of it. A pose one likes another will hate. Treat your seniors like young adults. Try to take interest in them and their ideas. Ask them questions about their plans and hobbies. Never think that because how a senior subject sessions should be fun and interactive. Family Conflict. Experience with working with people is invalu- able when working with seniors and their parents.
If possible, try to work through their concerns prior to the portrait session so that you can focus on the subject. Ask ques- tions before you begin to avoid surprises later. Possibly the most dynamic and complex field of portraiture is high school senior portraiture.
Due to a number of soci- etal changes, these subjects expect more to choose from than three turns of their head. An arsenal of back- grounds, sets, props, outdoor scenes, etc. They expect to get what they see on TV. Practice, practice, practice, and learn. The pre-session consul- tation is very important to deter- mine their wants and needs.
Senior portrait photography is a dynamic and complex field—subjects expect a vari- ety of unique images to choose from. Find poses that you know you can do quickly, easily, and sell well and have them ready. From that pose, you can shoot good head and shoulders, three-quarter, and full-length poses with different light- ing, backgrounds, etc. You can add his girlfriend easily by having her step in and grab his arm below, right.
Be Trend Savvy. Like hair and clothing trends, certain poses and posing tools come and go and come back. Certain props, furniture, etc. First, use what you know will work, but try new ideas.
It will keep your poses from getting stale and will keep potential clients interested in your work. Men are, by nature, generally less detail oriented and more nervous. Thus, it is best to keep your session quick by knowing your equipment and by not taking too much time between images. Never Assume.
Women are usually credited for taking the greatest interest in portraiture, which is probably true. Remember, he has an ego, too.
Show interest in him and ask for his input. So, use this trait in your posing. It will be easy for the subject, and will look appropriate.
But still aim for good posture and avoid slouches that will make the subject appear bored and not flatter his physique. Pose men dynamically, leaning toward the camera, not away. Visualize the clas- sic C-poses where the shoulders are tipped and the head is tipped Leaning poses are excellent for male to the lower shoulder to where it becomes perpendicular to the subjects. Breaking these rules will quickly imply passivity and fem- ininity. Most men have habits that can be used for posing technique.
Some men often put their hands in their pockets, some cross their arms; others are very expressive with their hands.
Reproducing these habits during the session will be easier for you and them and their final portraits will be more represen- tative of their true personality. Rather than canned poses, getting your subject involved with his activity or environment can be effective. For example, a portrait of a man working on his favorite craft or at his desk may be more suitable than just sitting on a stool and smiling. Statistically, women have the greatest involve- ment and influence in portrait sales.
Encourage their input, listen, and incorporate their ideas. Paying attention to details they find important will impress and relax them. They will be reassured that they chose the right photographer and will be more willing to accept your ideas. Be sensitive. Because women are more openly con- scious of their appearance, be sensitive to their con- cerns and reassure them that you will do your best to make them look their best in their portrait.
A misspo- ken word or phrase may irritate the subject to the point where getting a comfortable pose and expres- sion may become difficult. For the classic S-curve pose which may be bet- ter visualized as a lightning bolt pattern , the subject tips her lower shoulder toward her higher hip and her head toward her higher shoulder. Pay close attention to good posture: stretching and turning to tighten Posing for women should generally muscles.
In a standing pose, shift the weight to the back foot and care- and femininity. Avoid squared shoulders and hips that will appear static and uninteresting. Because women have rel- atively smaller brows, fore- heads, and noses than men, their eyes are more pro- nounced and are more notice- ably expressive. Getting light into the eyes is critical. Turning the head away from the camera and having the eyes look Because women have smaller brows, back toward the camera will have the same effect.
Women are still the primary subjects of glamour por- eyes are more pronounced. That makes traiture, which is a market that has changed drastically due to the posing the eyes all the more important competitive influence of chain portrait studios. A good guideline to for portraits of women. Simply ask her what they feel they are.
She may be par- ticularly proud of some and not of others. Emphasizing the princi- ples of the classic S-curve and posture will draw attention to the female form and the graceful pose will become sexier and more seductive.
Again, the eyes are very important. Women are more apt to be excited about portraiture. Build on this excitement. It will carry through from the first phone inquiry to the final portrait delivery and beyond. Positive word of mouth is a great asset when creating fine portraits of women. More than any other type of portraiture, wedding portraits should capture the love between the bride and the groom and from their family and friends.
Certainly, recording images of groups and events on the big day is essential. Everyone is dressed in their best, happy well, usually , and having fun.
Make the most of it. Be cre- ative and be prepared to capture special moments that just happen and are nearly impossible to recreate. Mutual Respect. Portray your- self as a professional and let your subjects know they are important to you.
Have a plan and let Be creative, have fun and be ready to them know what it is. They will respect you and be more coopera- capture images that show unique tive. It will be a win-win situation. Expect anything to happen and be ready to adapt. So, be under- standing. Pose the bride as you normally would pose a woman, and make the dress and accessories work to your benefit, not against you.
Accentuate long flowing graceful lines of the veil and train. Define the waistline by separating the arms and the body and by twisting the body at the waist. If holding a bou- quet, position it in the hand farthest from your main light source and slightly above waist level for three-quarter and full-length portraits.
Turn the bride away from the main light source to maximize dress detail. The Groom. Suits and tuxedos are more restrictive to movement, but the body at the waist and separating encourage straighter posture that invokes a feeling of positive atti- the arms from the body.
Use this attitude to your advantage. The Bride and Groom. As opposed to most portrait sessions where you must build up the energy level, at a wedding, all you need to do is be ready for it to happen.
You can guide the couple into poses that encourage their natural interaction. Just have them look at each other and hold each other, or have the bride look at her ring or flowers and have the groom look at her. At these points, their expressions will be genuine and full of love. If you get them involved with their parents, the wedding party, the miniature bride and groom, etc.
The Wedding Party, Families, etc. The number of people involved at a wedding can be astronomical. Work quickly and efficiently, but still The number of people involved at a wedding can be pay attention to detail. An assistant can be very helpful when posing astronomical.
One of you can handle the camera and lighting while the other arranges the individuals and helps them pose.
Sort individuals and couples by height the bride and groom. The bride and groom are obvious centers of interest and can serve as the focal point in a more inter- active style portrait.
Find someone besides the bride that knows many of the people and can be your direct connection for the day to the parties involved. It will save you time trying to find people while you should be focusing on your photography.
Build Up, and Break Down. Schedule your portraits of the bride and groom first and gradually build up to the largest groups wedding party and families as people arrive and then break back down to subgroups.
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