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التصوير الفوتوغرافي الحديث
POSING TRICKS
The body can be made to look more perfect by a few tricks of posing . If a girl has heavy legs , concentrate on seated poses with the model leaning forward so that the legs diminish as they recede into the background . The same would apply if she were stand ing . Compose the shot to cut just above the knees , have her hips three quarters to the camera and ask her to lean forward from the waist . This diminishes the size of the hips and upper legs and concentrates on the bust and her face .
If , on the other hand , your model has rather thin legs , position the legs together so the thinness is less obvi ous . Or , turn her back to the camera , legs apart with a twist to the hips so that her head is turned and she is looking to the side or into the camera . The back view of the legs , especially when the body is twisted , emphasizes the size of the calves and gives more shape to them .
For the girl with thin legs concen trate on torso compositions cutting just below the hips . Also , cross her legs slightly so there is no separation between them .
About the only feature that is dif ficult to camouflage is the waist . A girl with a thick waist is definitely a prob lem and it s virtually impossible to cor rect this in photography . Sometimes a shorty nightgown will do the trick but , being realistic , a girl with a thick waist will usually have big hips and heavy legs to go with it so you're defeated before you start .
Props can also assist in selecting poses and angles . A chair or pillow , or a hand - held object may well sug gest to your model a variety of poses . Try them .
HERE ARE three bright sunlight situa tions : At left , an aluminumized reflec tor bounced light into shadows on front of the model . Top right - unadulterated noon sunlight while at bottom right , a flash was used to brighten shadows .
eyes will be open . If you don't have electronic flash you can use blue flash bulbs .
Many photographers have a difficult time figuring out the use of flashbulbs or electronic flash with sunlight . This is due to the fact they are too con cerned with too many things - dis tance of the flash to model , shutter speed and f / stop . If the flash is too close it overpowers the sunlight ; if it is too far back it is no good .
Peter Gowland's formula for this technique is rather simple : ( 1 ) Learn the basic sunlight exposure for the film you are using and , ( 2 ) move the flash in to the correct distance for balanced fill - in . This can be worked out easily from the guide numbers printed on the flashbulb carton - or , by studying the instruction booklet for your electronic flash unit . You should also shoot some test frames to confirm the results that you get .
With a daylight color film of ASA 50 , set the shutter at 1 / 50th and the lens at f / 18 or f / 16 . With a strobe unit that has a Kodachrome II guide number of 100 , it should be placed at seven feet with the sun backlight ing the girl - or , at 10 feet with the sun in a sidelight position .
Gowland prefers to use only these two distances rather than to move the flash in and out with the camera . If he had to keep changing the distance between flash and model he would have to constantly keep changing the f / stop and shutter speed for almost every picture . The confusion would be overwhelming and disconcerting to the model .
With the fixed - flash distances , all that is needed is a long cord to con
nect the shutter with the flash . A light stand or an assistant will be needed to hold the flash so that you can line it up off the camera when such a light ing angle would be more desired than at the camera position .
MODEL was posed in shade with bright sun lighting the background giving this dramatic effect . Photo below left shows how folding reflector is used to bounce light into shadows . At right this was shot from inside a cave silhouetting model against a foggy sky background .
SOMETIMES SHADE IS BETTER
As a general rule hard lighting is preferred for full length glamour shots and soft light is desirable for closeups . Indoors , a single light at 45 ° in front of the model will create hard .
طرح النموذج الخاص بك ..
التصوير الفوتوغرافي الحديث
POSING TRICKS
The body can be made to look more perfect by a few tricks of posing . If a girl has heavy legs , concentrate on seated poses with the model leaning forward so that the legs diminish as they recede into the background . The same would apply if she were stand ing . Compose the shot to cut just above the knees , have her hips three quarters to the camera and ask her to lean forward from the waist . This diminishes the size of the hips and upper legs and concentrates on the bust and her face .
If , on the other hand , your model has rather thin legs , position the legs together so the thinness is less obvi ous . Or , turn her back to the camera , legs apart with a twist to the hips so that her head is turned and she is looking to the side or into the camera . The back view of the legs , especially when the body is twisted , emphasizes the size of the calves and gives more shape to them .
For the girl with thin legs concen trate on torso compositions cutting just below the hips . Also , cross her legs slightly so there is no separation between them .
About the only feature that is dif ficult to camouflage is the waist . A girl with a thick waist is definitely a prob lem and it s virtually impossible to cor rect this in photography . Sometimes a shorty nightgown will do the trick but , being realistic , a girl with a thick waist will usually have big hips and heavy legs to go with it so you're defeated before you start .
Props can also assist in selecting poses and angles . A chair or pillow , or a hand - held object may well sug gest to your model a variety of poses . Try them .
HERE ARE three bright sunlight situa tions : At left , an aluminumized reflec tor bounced light into shadows on front of the model . Top right - unadulterated noon sunlight while at bottom right , a flash was used to brighten shadows .
eyes will be open . If you don't have electronic flash you can use blue flash bulbs .
Many photographers have a difficult time figuring out the use of flashbulbs or electronic flash with sunlight . This is due to the fact they are too con cerned with too many things - dis tance of the flash to model , shutter speed and f / stop . If the flash is too close it overpowers the sunlight ; if it is too far back it is no good .
Peter Gowland's formula for this technique is rather simple : ( 1 ) Learn the basic sunlight exposure for the film you are using and , ( 2 ) move the flash in to the correct distance for balanced fill - in . This can be worked out easily from the guide numbers printed on the flashbulb carton - or , by studying the instruction booklet for your electronic flash unit . You should also shoot some test frames to confirm the results that you get .
With a daylight color film of ASA 50 , set the shutter at 1 / 50th and the lens at f / 18 or f / 16 . With a strobe unit that has a Kodachrome II guide number of 100 , it should be placed at seven feet with the sun backlight ing the girl - or , at 10 feet with the sun in a sidelight position .
Gowland prefers to use only these two distances rather than to move the flash in and out with the camera . If he had to keep changing the distance between flash and model he would have to constantly keep changing the f / stop and shutter speed for almost every picture . The confusion would be overwhelming and disconcerting to the model .
With the fixed - flash distances , all that is needed is a long cord to con
nect the shutter with the flash . A light stand or an assistant will be needed to hold the flash so that you can line it up off the camera when such a light ing angle would be more desired than at the camera position .
MODEL was posed in shade with bright sun lighting the background giving this dramatic effect . Photo below left shows how folding reflector is used to bounce light into shadows . At right this was shot from inside a cave silhouetting model against a foggy sky background .
SOMETIMES SHADE IS BETTER
As a general rule hard lighting is preferred for full length glamour shots and soft light is desirable for closeups . Indoors , a single light at 45 ° in front of the model will create hard .
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