 (Click on photos to enlarge) Even after I've finished setting up a shot, I'll always find something else that can be done to improve it. It may be repositioning the subject, altering the camera angle, removing a stray object, adding a prop, or switching lenses. It might be something minor or something more involved. At times, though, a mood overtakes me, and the following happens - I get lazy and don't want to fix the issue. I know this is not the best attitude to have when trying to come up with quality images, and I'm not sure why it happens. But when it does, I lose the desire to make much of an effort. So, I'll simply ignore the needed change, continue shooting, and hope some magic ensues that will save the photograph. That magic, if it is to happen, usually comes when I reevaluate the photo later at my office. I’ll examine the RAW file on my large, high-quality monitor. This gives me a much better read than the small, low-quality JPG image that appears on the camera’s monitor (Note: whether shooting in RAW or JPG, the image on the camera’s monitor is most likely a JPG). Also, my frame of mind will be different from what it was during the photo shoot. I’ll no doubt be more relaxed and able to see possibilities I previously may have missed. What I might ultimately discover is that I really like the picture. If not, I’ll search for ways to fix the problems using one of my digital editing programs. So, it’s more or less of a crap shoot. If I end up liking the photograph as is or with some post-production changes, I’ll keep it. If not, it's trashed.  The high-angle position of the camera works well. The elements of the shot I wanted to emphasize are clearly visible - the model, sign, various locks, and the disproportionately large door. Initially, I planned to remove the extension cord, which was powering my strobes. However, laziness won out. Luckily, after viewing the image in my office later on, I realized how much I liked the cord snaking around under her. I think it’s an attractive design element.  Deborah was sitting behind a wall smoking, as if trying to stay out of view. I wanted to position myself a few inches to my left so that more of her face would be visible. As in the previous picture, I was too lazy to move. But, I’m glad I stayed where I was. I feel what’s shown is perfect. In fact, seeing more of her face might have taken the emphasis off both her cigarette and the dramatic bend of her wrist.  I love photographing dolls. I'd been working with a variety of them and was almost done for the day. Without giving much thought to this setup, I dropped the doll into some fairly tall grass and took a shot. I was tired and my mind had drifted to the meal I was planning to cook that evening and not so much on what was to be the last shot of the day. But looking at the image later on in my office, I was pleased with what I saw. I was very happy with how the grass covered sections of the body while leaving parts of it and the eyes unobstructed. I think the foreground's shallow depth-of-field quickly moves the viewer's eye to the doll's eyes. I also think that the positioning of her arm makes it look as if she's casually greeting someone.  Wally was wearing a hat that I didn't want in this setup. I asked that he remove it and put it somewhere out-of-frame. However, other than placing it on the dusty ground, there was nowhere else nearby to stow it. I could have put it in my car, which wasn't that far away but, true to the theme of this blog, I didn't. So I stuck it on the tree and hoped for the best. And it worked out. I realized that I liked how the brim of the hat seems to point towards Wally's head. And, for no reason I can explain, it just seems to fit in. Now, when I mentally remove the hat, the photo seems incomplete.  I noticed the lopsided blinds on the left window and said to myself, “Oh, I should straighten them before I shoot.” And again, I did not make the effort. And again, after viewing the picture a day later, I was happy I didn’t. The tilt of the blinds adds to whatever else is “off” in the picture - the darkness of the young woman, the slight angling of the camera, the extreme headroom, and the fact that she's wearing sunglasses indoors.  (Click on photos to enlarge) In a very, very general way, I think I can divide my portrait photography into four types: 1 - Portraits that look posed and that were posed 2 - Portraits that do not look posed but that were posed 3 - Portraits that do not look posed and that were not posed 4 - Portraits that do not look posed but that were a combination of posed and not posed I hope that made sense. What I want to address in this blog are the "portraits that do not look posed" (types 2, 3, and 4 above). For a picture to appear not posed, it should look as if the photographer caught the model in the midst of performing some task - as if the photographer just happened by with their camera and quickly snapped a picture. Let's address #2 above. This could be challenging for the model to achieve for two reasons: 1 - It may be difficult for the photographer to convey the look they want to the model. 2 - It may be difficult for the model to come up with a believable pose, even if they understand what it is the photographer wants. Let's look at #3 above. The photographer can keep an eye on the model throughout the photo shoot, hoping they will do something that will result in an interesting non-posed look. The problem is that there's no guarantee this will ever happen. So, let's go to #4 above. This offers the photographer the best chance of getting quality portraits that do not look posed. What I’ll do is to give the model a specific physical task to perform - something that requires them to move their body and, hopefully, vary their expressions. Because a real chore is being undertaken, their actions generally will appear more normal and realistic. And since I usually use strobes for illumination, and if their actions aren't too quick, the photos can be taken while they're moving. In addition, I can have them repeat what they're doing a few times, perhaps suggesting a slight modification for each repetition, until I end up with the images I want. This is an excellent technique for both the photographer and the model. It allows the photographer to shoot and the model to act continually, with only minor interruptions, for at least a little while. And it can be a nice change of pace, even if not done for the reason discussed above. Both get a break from having to move from static pose to static pose, normally the de rigueur of portrait photography.  Jennifer and I first worked out her positioning on the bed. I then asked that she pretend to be discouraging whoever it was that wanted to join her there. Her actions were quite forceful and convincing, leaving no doubt that she wanted to be left alone.  Gretel was high-energy and very entertaining even without the microphone. But with it, she was at a whole other level. The only direction I gave was, "You're a rock star!".  Similar to the previous photo, I merely asked this young couple to behave how they would if alone together on their bed. They had no problem with this direction. Things quickly heated up. I reminded them that I was still in the room and taking pictures that would be seen by lots of people. Not knowing how far they intended to go, and having already shot some wonderful images, I ended the session.  I asked Esther to put her jacket on slowly and then take it off. She repeated this a few times, enabling me to shoot about six photos on each occasion. The twisting of her body, enhanced by her lean figure and flung-out arm, formed a beautiful dynamic pose. The bright sun added shadows, which produced definition and contrast in her clothing. Her head aimed at the sun meant her face was lit well and had no harsh shadows.  These two college students shared an apartment but were not a couple. They did, however, appear to be close friends. I had the idea of them pretending to have tired of each other. Further, I suggested their bathroom as a place where they both just happen to end up together one day and where their annoyance and boredom with one another come through.  (Click on photos to enlarge) I’ll sometimes return to a location I’ve previously photographed and discover it has irrevocably changed. What I mean is that what I had shot is no longer there. That sometimes makes me a little sad. Something I thought was worth photographing - something others should have had a chance to see or photograph - is now no more. What makes me happy, on the other hand, is knowing that at least I have pictures of what was once there and that others, hopefully, will get to see them.  This brings back memories of the flying monkeys from the film, The Wizard of Oz. The sign, now gone, was located on Main Street in Glastonbury, Connecticut, USA. It was positioned between the sidewalk's end and the beginning of a wooded area. It advertised the Flying Monkey Farm in Glastonbury. I suspect that those familiar with the film and who saw the sign for the first time must have done a serious double take.  Since this museum gallery was being refurbished, all its paintings had been removed and placed into temporary storage. Viewing the room this way puts the emphasis on it rather than the artwork that normally hangs on its walls. To me, this image shows that even an empty space can have its own beauty. I found myself wishing the room would remain as it is, bereft of any paintings. I truly enjoyed seeing this portion of the museum in its raw state. Note: This picture was shot with a wide-angle lens and an intentional slight blur.  This was taken inside a theater that had been abandoned for decades. It seemed that wonderful shot possibilities popped up no matter where I pointed my camera. I spent hours happily wandering and photographing, though carefully avoiding falling ceilings, sizable gaps in the floor that could drop you down twenty feet or more, and exposed wiring that wasn't supposed to be live but sure didn't look it. To my disappointment, but to the new owner's delight, the theater was finally renovated. I do have to admit that it now looks glorious.  I was photographing in a skate park that also included walls of beautiful graffiti paintings (I think the city actually encouraged the graffiti). Seeing these Art Deco-type numbers on the colored squares made me want to photograph them. I also thought that adding a human element might add more interest, so I made sure my legs and feet would be visible in the shot. Returning to the skate park some months later, I was dismayed to discover that this entire section had been completely painted over.  I suspect few people are wanting to see this sight again. Normally, the sign indicates to walking pedestrians where to cross the street. However, after days of relentless rain, the entire area flooded, creating this glum but amusing scene. I felt a bit guilty taking the photo, but the weirdness of the sign/water combination made me want to capture it. Returning a few weeks later, I was relieved to find that all was as it was, with no indication of what had recently happened.  Unlike the previous images, what you see in this photograph (at least as of this writing) still exists. What does not exist is the era that this picture hopefully represents - the 1930s or 1940s. With a bit of Photoshop finagling, I think I gave the image the appearance of a long-gone America.  (Click on photos to enlarge) There’s a belief in photography that the eye is drawn to the brightest part of an image. This assumption most likely is correct. In fact, photographers and other artists have long used dark and light areas in their work to direct the eyes of their viewers. Think of a picture - a photograph, drawing, or painting - where the edges are darker than the interior portion. That dark area acts as a frame, subtly telling the viewer where their eyes need to go, which is towards the interior where the subject is. So it might seem self-defeating to take a picture that includes bright and especially grossly overexposed areas that may distract the viewer from the photo’s main subject. But many photographers and artists do take pictures this way, including me. It’s something that's always appealed to me, though I’ve never been able to explain why. But that's unimportant. I think the bottom line is that bright and ultra-bright areas, though they may compete with the subject, can be dynamic in a photograph. It may be the sheer intensity of the light, independent of whatever the subject is, that helps capture and hold the viewer's attention. The subject is still there and still important. It’s just that now the whole image is more vibrant and exciting.   FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton T-shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available Unisex™ sizes are Small, Medium, Large, and X-Large. The shirts may also be purchased. There are times when a bright light has a more practical purpose in a photograph. That's when it provides the illumination for the image itself. Without that light, there'd be no picture. Of course, the actual light doesn’t have to be in the photo. But as I’ve mentioned, that super bright area can make the picture considerably more appealing.    In addition, bright light can be used to hide an ugly or intrusive background. There were outdoor elements that I felt would hurt the photos below. Blowing out the backgrounds solved the problem.    Bright light works well as a clean, white, nonintrusive background for the subject. As seen in the image below, that and the odd highlighting around each chair help define and separate each one. In addition, the overexposed areas add some diffusion that softens the picture a bit.  I’ve seen many photographs where tunnels, corridors, passageways, and footpaths have ended in scary, mysterious, darkness. There seems to be a natural connection among those three qualities. It’s as if each one depends on the other two. However, replacing a dark area with a very bright one can often produce an equally scary and mysterious image. I think it’s the fact that whether an area is very dark or very bright, we just don’t know what awaits us there. But it’s interesting to consider how a grossly overexposed area can also connote heavenliness. It’s like people on the verge of death being pleasantly beckoned forward towards a bright light.    (Click on photos to enlarge) When photographing a subject, veils and gauzy curtains can cover a multitude of sins such as messy hair, facial blemishes, bad lighting, lack of posing ability, and so on. And, depending on how they're used, these accessories can help make images appear mysterious or even ghoulish. I’ve never purchased actual veils for my subjects. Instead, I visit local craft supply stores for veil-type material, in various colors and patterns, with weaves ranging from coarse to fine. The pieces I purchase are large so there's enough material to cover the subject's head and upper torso. Also, I’ll iron or steam the cloth before the shoot to remove any wrinkles and creases.    Here’s Anabel wearing veils prepared from three very different materials. Each veil was carefully arranged after being placed over her head and shoulders. It was positioned so no opaque portion of it covered anything I wanted visible. I also made sure the material was not doubling up, but rather laying flat as a single layer. With the materials being so different from each other, with the variety in her poses, and with the help of Photoshop, Anabel almost appears to be three different people. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton T-shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available Unisex™ sizes are Small, Medium, Large, and X-Large. The shirts may also be purchased.  I had Elspeth sit on this window ledge, then covered her with the sheer curtain. I threw the lens a bit out-of-focus, thereby softening the picture. Tilting the camera meant Elspeth wouldn’t have to wait had I wanted to make the picture perfectly square. This would have meant me straightening the vertical and horizontal lines of the window panes in the viewfinder - something that would have taken too much time, causing me to possibly lose her barely visible but very sweet smile.  Jaida appears to be struggling with an out-of-control veil, as if it's windy and she's trying to prevent it from blowing away. Actually, we were inside her house, and there was no air movement. Her convincing demeanor was the result of good acting!  Linda is draped with a blanket instead of a veil. The covering serves the same purpose as a veil but evokes, perhaps, more humor than drama. The cigarette sticking out of her mouth adds some extra oddness to the picture.  Makenzie’s eyes are completely covered by her veil, and bare branches hang above her. Together, these details infuse the photo with a sense of mystery. After not viewing the photograph for several months, I found two details I’d never seen before. First, the picture appears to be divided equally into two sections - the model and far background trees in one and the horizontal tree branch and sky in the other. Second, the very bottom tree branch lines up almost perfectly with the top of the tree line in the far background.  (Click on photos to enlarge) I’m excited when my models (or anyone else on the set with us) make suggestions about clothing, hair, makeup, and the like. In addition, when an interesting posing idea is brought up, I’m very happy to try it. However, in the past, if it was something that did not seem to have a chance of working, I’d quickly discard the suggestion. I was convinced that I was the final authority on what poses would or would not work. I still react that way occasionally. But this belief obviously has limitations. Making a snap judgment means I’ve thought little about what was suggested to me. Instead, if I spend a few moments fully considering the idea, I’ll often find that it indeed does have merit. However, there are times when I'm absolutely convinced a posing suggestion will not be successful. But out of respect for the model, I'm willing to give their idea a chance. I'm happy to say that more often than not, we end up with some interesting images. The end of our photo shoot was drawing near. Lexi had been a great model, and I wanted to reward her by shooting a setup she’d been considering. So, after she posed herself, I took a few pictures. I hadn’t been crazy about the setup and was sure none of the photos would have any value for me. Boy, was I wrong! There’s so much I like about this particular image - the strong diagonal created by the tree branch, the angular bends of her arms and left leg, the contrast between her red dress and the green background, and her intense stare.  I had asked Cynthia to sit. She did, but not the way I figured she would. I was about to ask her to move onto the seat, but decided not to. This was our first time working together, and I didn’t want her thinking I was the dictatorial type. So I took a few shots, assuming none would be very good. I changed my mind when viewing the pictures back in my office on a full-size monitor. One of the things I really like is the bend of the knees, with one slightly below the other, and how that matches the bottom of her dress, with one side being a little lower than the other. In addition, I love the soft shadow surrounding her legs and chair, produced by the ring light attached to my camera. I realized how charming it was that she'd decided to sit on the chair this way.  FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. A dance company had hired me to photograph its dancers. After finishing, I had the opportunity to pose them for some of my own stock photography. These two were excited to be photographed-especially the young woman. In the middle of me explaining the sort of setups I wanted, she grabbed the young man and began working out this pose. I didn't think I'd like it but, as before, I decided to try a few shots. I was surprised and very happy with how they turned out... especially this one.  Here’s another setup I was positive would fizzle. This young couple and I had spent a few hours photographing at a city park. They had been a delight to work with but were itching to try a few setups of their own. After completing the shots I wanted, they led me to this merry-go-round. To the uninitiated, this old-fashioned device spins by having someone hold onto its railing while running. Once the ride gets moving, the runner jumps on. My role, of course, was to document the process. So, I hopped onto the device, and Kevin began spinning it while Ariana ran alongside. Though they were savvy enough to be aware of the camera and knew the importance of good expressions, I could tell they were genuinely excited and having a grand time. They never came completely aboard the spinning disk, but I was still getting some great images. It was also satisfying knowing I didn’t have to set up the shots, since I was now shooting documentary style - following and photographing what was directly in front of me. I was delighted with the results.    (Click on photos to enlarge) When searching for other-than-human things to photograph, I’m not usually drawn to the same objects or scenes that others often find appealing. Rather, I’m more attracted to the ordinary - things other photographers might never consider shooting. What I love photographing is the nondescript, the unremarkable, the plain. Things lacking visual appeal. It’s with these sorts of subjects that I can apply my trade, which is trying to make the commonplace interesting. I do this by playing with subject positioning, camera placement, camera angle, focal length selection, depth-of-field, lighting, and, sometimes, prop placement. In addition, and as important, I’ll be thinking about what can be done during the editing process to improve and enhance the final image. I find this kind of photography far more appealing and challenging (in a good way) than merely recording the pretty things I come across. Let me address that last point for a moment. I’m certainly not criticizing photographers (amateurs or professionals) who enjoy shooting sunsets, architecture, or animals in the wild - the visually stunning that easily catches the eye. I understand the appeal. But for me, it’s being able to take something most people would consider not worth shooting and coming up, hopefully, with a quality photograph. I think many photographers don’t consider the possibilities of photographing the ordinary. They don’t realize the wonderful images that can result... something that certainly makes sense if they’ve never done this type of shooting before. For me, this type of photography involves two general steps:
After a while, I think the photographer will become more comfortable with this process - both with selecting the objects or scenes and using the camera and editing techniques to mold them into appealing photographs. Then, instead of avoiding the mundane, they’ll embrace it, knowing they can transform their subjects into wonderful images. It’s really a satisfying feeling - coming up with quality photographs that started with something very ordinary. Below are images created using the above steps. Realizing these street lights and crane could produce an engrossing photo, I searched for somewhere to stand where all the elements would be visible, with none being blocked by another. I was lucky that the poles, from my perspective, were all different heights, making them more interesting than if they had not been. Additionally, I was fortunate to have beautiful fluffy clouds as a backdrop. The lamps, which hadn't been turned on yet, were lit using Photoshop.  FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. It’s important to look straight up, from time to time, when out taking pictures. I was wandering through the Connecticut State Capitol, looking for my next photo possibility. Nothing was catching my interest until I looked up. After seeing this ceiling, I knew I had my shot.  This was taken at the Connecticut State Library. The floor was made from some sort of translucent material. When I turned off the lights, the entire aisle became lit with this striking warm, soft, low-angle illumination from the floor below. In addition, I think the sea of booklets and the length of string binding each one is quite fascinating. I did not white balance the image, preferring the light's natural warm tone.  I thought this bent, no-parking sign was intriguing. But, I felt something more was needed to add context to the sign. I realized these two buildings could be used for that. So, moving close to the sign and using a very wide-angle lens setting, I framed the shot to make the buildings appear to encompass the sign.  Before walking into this coatroom, I had thought little about the kind of wonderful shadows a few ceiling spotlights (which I removed in Photoshop) and a bunch of empty hangers could create. It's the length of the shadows - and knowing the much smaller hangers produced them - combined with their random patterns on the wall that, for me, make this a dynamic image. As in the library shot above, I did not white balance the image, preferring the natural warm tones of the spotlights.   (Click on photos to enlarge) Depth-of-field deals with how much of the area in front of and behind the object you focus on is also in (acceptable) focus. “Great” or “Deep” or “More” depth-of-field means that a large area in front of and behind the object you focus on is in acceptable focus. “Less” or “Shallow” depth-of-field means that very little area in front of and behind the object you focus on is in acceptable focus. Depth-of field is determined primarily by, but not only, the f-stop (aperture) setting. The smaller the opening (the larger the number), the greater the depth-of-field. The larger the opening (the smaller the number), the shallower the depth-of-field. Here are the major factors that determine depth-of-field: To produce a greater depth-of-field: Use an aperture (f-stop) with a small opening Use a wide-angle focal length (zoomed-out) Move farther away from the subject To produce a shallower depth-of-field: Use an aperture (f-stop) with a large opening Use a telephoto focal length (zoomed-in) Move closer to the subject The image below has a great depth-of-field. When first arriving to this location, I realized I wanted everything in the picture to be in focus - from extreme foreground to extreme background. With all the fascinating lines and angles created by the freeway section, I wanted every part of the picture to be sharp. The lens was set to 17mm at f13.  This image has a shallow depth-of-field. What’s interesting, at least to my eye, is not being able to determine which section of barbed wire is in which plane. To me, the center three wires seem to be next to each other, with only the middle wire being in focus. In reality, the wire to the right of the in-focus wire is closer to the camera and the wire to the left of the in-focus wire is farther away. The lens was set to 135mm at f5.6.  FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased. Here's what happens when the camera is placed very close to the object being photographed - in this case, a pen etched with lots of zeros. The depth-of-field becomes extremely shallow, almost nonexistent. Not only are most of the zeros and the pen out-of-focus, but they're mostly unrecognizable. The lens was set to 105mm at f5.  The four pictures below are identical except that each was shot at a different aperture setting (listed under each image). Each picture was focused at the same point; the area between the numbers 81 and 82. The only difference among them is the depth-of-field. You can see the background becoming more out-of-focus as your eye moves from the top to the bottom photo.  The lens was set to 80mm at f11.  The lens was set to 80mm at f8.  The lens was set to 80mm at f5.6.  The lens was set to 80mm at f4.
 (Click on photos to enlarge) As important as the model’s facial expressions are when posing for a photograph, what she does with her body is no less critical if it's going to be seen in the shot. Therefore, it's important she be comfortable coming up with appropriate and interesting body poses. I'm rarely looking for any pose that's too dramatic or intense, however. It's subtlety that usually works best (though not always, as seen in one or two of the photos below). Of course, it's also important that both her facial expression and body positioning complement each other. Coming up with good body poses is more of a team effort when the model is inexperienced and a non-actor. For example, I may request that she change her body pose from shot to shot, but she instead unknowingly repeats almost the same one each time. If that happens, I might hold up a portable mirror for feedback as she tries a variety of poses. Together, we can be sure each one is indeed different. I may also suggest a specific emotion ("joy", for example) that I want expressed through her body pose. If she's having difficulty doing this, I'll help her out, perhaps by giving specific directions for specific placement of her head, arms, legs, etc. This can take time, but good results are usually guaranteed. Occasionally, the model will create a body pose that's too extreme or too overwhelming for the shot I want. If this is an issue, I'll ask that she reduce its intensity. Let me note that it’s usually easier toning down a model’s pose than trying to intensify it. Many times, how her body is positioned is of minor importance in terms of the whole picture. This may be the case when things such as props or setting are more important. In fact, sometimes a more neutral pose can immensely benefit the photo by not taking anything away from what the picture is trying to depict.  Gwyneth convinces us that what's really an empty attaché case is actually something quite heavy. That's emphasized by her pretending to support it on her chest and her wonderful grimace. Added together, she gives a very believable performance of someone acutely struggling.  This photo speaks volumes of Dora’s emotions. I love the twists and turns of her body, especially the way she holds her left arm. Combined with the knock-knees supporting her arms, which in turn support her hanging head and hair, everything points to someone seriously unhappy.  Several elements work together to create what could be a picture of a marginalized teenage girl. She looks shocked and confused. She’s relegated to the corner of a small, empty, stark room. The fact that she's shot from a high angle further diminishes her. But perhaps the most powerful element is how she’s scrunched up, clenching her arms, and squeezing her legs and feet together. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased.  This is a setup that many of my stock photo agencies request. So, if there’s a window at the shooting location with appropriate outdoor scenery and lighting, I’ll usually try a few shots. This image of Gretel, I think, is something special. Not only is her expression convincing, but I think her body positioning is perfect. I like her placement by the window, the tilt of her head, and her ponytail resting on her shoulder. In addition, the bit of hair falling over her face and the shadow under her eye, perhaps mimicking tears rolling down her cheek, make the photo even more interesting.  This is what I find appealing about Miranda’s pose: Head and body slightly twisted in different directions. Slight tilt of the head. Hair covering most of one eye. Unusual positioning of her fingers. Door opened only enough to contain her. Intense expression.  Toni is a fine performer. The drama she creates lying on the bed with one arm close to her and the other outstretched is, I think, quite amusing. The 28mm wide-angle lens being fairly close to her helps emphasize the left arm by elongating it.  Ariana looks nervous but in control. She's poised for action if necessary - ready to fling off the blanket and jump out of bed. I wanted only a small amount of nudity. To that end, she strategically covered her breasts with her long hair. The gun was carefully positioned in front of the blank wall so as to be clearly seen.
 (Click on photos to enlarge) Arms and hands can work beautifully as props. When properly positioned, their ability to add interest to a photograph rivals that of more traditional props. Some of the models I work with require very little guidance from me when it comes to intriguingly positioning their arms and hands. Whether by instinct, skill, or luck, they create wonderful poses almost completely on their own. Unfortunately, most require more direction-sometimes a substantial amount. However, I'm open to trying almost any pose the model comes up with. I've learned that what I don't like initially may actually look wonderful in the photograph. But it's important that my models refrain from any kind of posing that won’t work for my sort of photography. That means nothing relating to glamor or attempts to be realistic (pointing, gesturing as if talking, hand on the chin as if pondering, etc). Rather, I want “unposed” poses-something more natural. Or something offbeat. I demonstrate this by positioning my hands and arms in those ways. As an example, I might pretend I’m mulling over a problem by arranging my hands and arms into an oddball configuration, mimicking what happens when I’m not consciously thinking about them. I acknowledge the unnaturalness and awkwardness of these kinds of poses, and that they are precisely what I want.  To me, this picture reads as someone who's surprised or in deep thought. I think having her hands positioned at different heights on her face makes the image more interesting than if, for example, one were on each cheek.  Usually, when I ask a model to touch her face as part of a pose, she’ll place an open hand, fist, or finger against her cheek. In this instance, I love what Oliana did (totally her idea). Her fingers are lightly touching her face. They’re spread slightly apart, making each one visible. They’re relaxed. But it’s the curve of her fingers, from index to pinky, that I find most fascinating. And, for whatever reason, her expression and hand seem to complement each other perfectly.  Judy’s task was to act scared, which I think she carried off very well. Her left hand adds to the effect. The way it and her fingers are bent show her tenseness. She’s almost clawing at her face. The hand positioning goes a long way to emphasize her feeling of being frightened. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased.  Randi’s checking the sky for her bird buddies before flapping her wings to join them. Not really, but it does look that way to me. Her background as a theater major helped inform her poses, which were quite varied and wonderfully odd. I consider this one the best.  The bend and positioning of Ariana’s fingers are unusual. Using her last three fingers, without the first one, to pull the blinds downward is interesting.  I’m not sure what Esther is doing, but it is theatrical and wonderful.  Once in a while, I'll ask a model to hold her hands this way. As you can see, one hand is gripping the other hand’s finger. The pose is probably less common than the more usual hands-folded-together pose, which is why I like it. It’s not necessary that the hands and arms belong to the model. Anyone nearby can provide one or more appendages. I find disembodied limbs within the frame appealing.  Laurette’s smirk! That, along with the tilt of her head and the grasping of her legs, seems to show total contentment. It’s fun wondering what the hand just inches above her is about to do (it belongs to her mother).  Here they are again. I find the gentle and soothing grip Mom has on Laurette to be quite satisfying.  I think this is some wonderful acting. Adeline seems absorbed in thought, oblivious to her arm being yanked by her mother. Adeline not acknowledging that fact helps make the image work.
|
All Images © 2025 by Peter Glass. All Rights Reserved.