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Family and Group Portraiture

Posing a male subject


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Family and Group Portraiture

with Natalie Fobes

Video: Posing a male subject

After I finished with Trushana, I had Sako come in. You'll see some similarity in the poses, but there are differences. Natalie Fobes: And let's go ahead and have you put your weight on the other foot, on the other hip, on that one, and then go ahead and put that foot just out here some more. And then turn your body toward me, this way, even more. Very good! When posing a man, I'll often have him more square to the camera than I ever would a woman, and that's because being squared, a little more square to the camera, still not parallel, but a little more square, works to broaden his shoulders.

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Family and Group Portraiture
1h 28m Intermediate Mar 16, 2012

Viewers: in countries Watching now:

In this course, Pulitzer finalist Natalie Fobes shows how to capture engaging portrait shots of couples, families, and other groups using a variety of posing and composition techniques.

The course discusses how to plan for a portrait photo shoot and how to make stylistic decisions regarding props, clothing, and makeup. Next, the course reviews the essentials of posing women and men, starting with a single subject, moving on to a couple, and then working up to large groups. The course also demonstrates how to pose and compose a group portrait in ways that highlight the relationships between group members, whether they're family members or business colleagues. Lastly, to illustrate the time constraints photographers often face, Natalie works against the clock to shoot a group of people she's never met.

The course also covers various postprocessing techniques geared specifically for portraiture, such as working with wrinkles and skin textures.

Subjects:
Photography Portraits
Software:
Photoshop
Author:
Natalie Fobes

Posing a male subject

After I finished with Trushana, I had Sako come in. You'll see some similarity in the poses, but there are differences. Natalie Fobes: And let's go ahead and have you put your weight on the other foot, on the other hip, on that one, and then go ahead and put that foot just out here some more. And then turn your body toward me, this way, even more. Very good! When posing a man, I'll often have him more square to the camera than I ever would a woman, and that's because being squared, a little more square to the camera, still not parallel, but a little more square, works to broaden his shoulders.

I often will have them put their hands in their pockets, and that's a very comfortable look for a man. I'll also ask him to have his elbows cocked out just a little bit. I still have the man put his weight on his back foot, and that does give a little bit of a tilt to his shoulders too, that adds interest to the composition of his body. Okay, there you go. Now your eyes, just your eyes at me. There you go. Great! When someone is nervous or a little bit stiff, my job is as much to put them at ease as it is to take great pictures.

I'll take quite a few shots. I'll try different poses until I can find one that really works for that person. Natalie Fobes: There you go. Great! That's looking good! That's perfect! Okay this time I am going to have you turn away from the light. So we'll go ahead and have you turn this way, and then I want you to put the weight on your back foot, again, just like you did, and go ahead and have your hands like this. Sako: Like this? Natalie Fobes: Exactly! And let me take a look here.

I am going to tilt you a little this way. The traditional look for a man is to have him have crossed arms. You want to make sure that his hand is in a very nice spot, and the other hand, closest to the camera, is hidden, and it seems to be okay for a man to be a little more relaxed in his posture and not totally stiff in the back. Natalie Fobes: And a little bit more smile. Ah, come on. Natalie Fobes: (laughing) Good! So I'll have you swinging around this side, facing here.

I like that. And with the hand, instead of having it like this, let's go ahead and relax it just a little bit. The most flattering angle for a hand is not straight toward the camera and not a big club like this. It's more on the profile. If you think of your hand as having a profile, it would be this side or this side. You'll always want to look for that when you're posing your people.

Natalie Fobes: Okay. Yeah, good! And if I see that pencil in postproduction, I'll be able to take that out, so don't worry about it showing. I wanted him to hold something in his hand that would cause his hand to have that natural bend to it. He was a little bit tense, I think, during our session and that will keep his hands in that position that I am looking for. Natalie Fobes: This is going to be the full body, and lean forward just a little bit, and I want you to swing your face around toward that light, even more, even more, and then your chin down.

There you go. Chin down a little bit more. Now look right on at me. Nice! All right! I'm actually going to come in a little closer. I've got a real nice shot of your face here. Little bit of a smile. Now that we've got the individual poses done, we'll bring Trushana back in and work on the smallest group shot, the twosome.

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