Master posing guide for wedding photographers bill hurter

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Text of Master posing guide for wedding photographers bill hurter

  • MasterPosing Guide

    for Wedding Photographers

    Amherst MediaPUBLISHER OF PHOTOGRAPHY BOOKS

    Bill Hurter

  • Copyright 2009 by Bill Hurter.All rights reserved.

    Front cover photograph by Cherie Steinberg Cot.Back cover photograph by JB and DeEtte Sallee.

    Published by:Amherst Media, Inc.P.O. Box 586Buffalo, N.Y. 14226Fax: 716-874-4508www.AmherstMedia.com

    Publisher: Craig AlesseSenior Editor/Production Manager: Michelle PerkinsAssistant Editor: Barbara A. Lynch-JohntEditorial Assistance from: John S. Loder, Charles Schweizer

    ISBN-13: 978-1-58428-251-8Library of Congress Control Number: 2008942236Printed in Korea.10 9 8 7 6 5 4 3 2 1

    No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechani-cal, photocopied, recorded or otherwise, without prior written consent from the publisher.

    Notice of Disclaimer: The information contained in this book is based on the authors experience and opinions. The au-thor and publisher will not be held liable for the use or misuse of the information in this book.

    About The Author

    Bill Hurter has been involved in the photographic industry for the past thirty years. He is the former editor of PetersensPhotoGraphic magazine and currently the editor of both AfterCapture and Rangefinder magazines. He has authored overthirty books on photography and hundreds of articles on photography and photographic technique. He is a graduate ofAmerican University and Brooks Institute of Photography, from which he holds a BFA and Honorary Masters of Scienceand Masters of Fine Art degrees. He is currently a member of the Brooks Board of Governors. Early in his career, he cov-ered Capital Hill during the Watergate Hearings and worked for three seasons as a stringer for the L.A. Dodgers. He is mar-ried and lives in West Covina, CA.

  • Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Wedding Photography: Then and Now . . . . . . . . . . .7The Goal? Enduring Value . . . . . . . . . . . . . . . . . . .10

    Don Blair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .10David Williams . . . . . . . . . . . . . . . . . . . . . . . . . .10Tim Kelly . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .11Martin Schembri . . . . . . . . . . . . . . . . . . . . . . . .11

    A Final Note . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12

    1. A Foundation for Success . . . . . . . . . . . . . .13Make Friends . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13Facial Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . .14Get to Know the Event . . . . . . . . . . . . . . . . . . . . . .15Do an Engagement Portrait . . . . . . . . . . . . . . . . . .17Make a Bridal Portrait, Too . . . . . . . . . . . . . . . . . . .19Have Master Schedule . . . . . . . . . . . . . . . . . . . . . . .19Learn Everybodys Names . . . . . . . . . . . . . . . . . . . .20Work with an Assistant . . . . . . . . . . . . . . . . . . . . . .21Dress for Success . . . . . . . . . . . . . . . . . . . . . . . . . . .21

    2. Posing Basics . . . . . . . . . . . . . . . . . . . . . . . . .22Start with the Feet and Legs . . . . . . . . . . . . . . . . . .23

    Standing Poses . . . . . . . . . . . . . . . . . . . . . . . . . .23Seated Poses . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

    The Torso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .25In Seated Poses . . . . . . . . . . . . . . . . . . . . . . . . . .25

    The Shoulders . . . . . . . . . . . . . . . . . . . . . . . . . . . . .26The Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27The Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

    Basic Principles . . . . . . . . . . . . . . . . . . . . . . . . . .28Womens Hands . . . . . . . . . . . . . . . . . . . . . . . . .29Mens Hands . . . . . . . . . . . . . . . . . . . . . . . . . . .29

    Three Views of the Face . . . . . . . . . . . . . . . . . . . . .30Seven-Eighths View . . . . . . . . . . . . . . . . . . . . . .30

    Three-Quarters View . . . . . . . . . . . . . . . . . . . . .30Profile View . . . . . . . . . . . . . . . . . . . . . . . . . . . .31

    Head Tilt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .32The Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33Chin Height . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .34The Mouth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35

    Expression . . . . . . . . . . . . . . . . . . . . . . . . . . . . .35Lips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37Laugh Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

    The Nose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

    Table of Contents

    PHOTOGRAPH BY MARK NIXON.

    ManteshwerTypewritten Textebooksdownloadrace.blogspot.in

  • Styling and Posing Work Together . . . . . . . . . . . . .38Makeup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38Hairstyle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39The Train . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39The Veil . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

    3. Corrective Posing Techniques . . . . . . . . . .42Camera Height and Perspective . . . . . . . . . . . . . . . .42

    Camera Height . . . . . . . . . . . . . . . . . . . . . . . . . .42Controlling the Perspective . . . . . . . . . . . . . . . . .42

    Correcting Specific Problems . . . . . . . . . . . . . . . . .43Overweight Subjects . . . . . . . . . . . . . . . . . . . . . .44Thin or Underweight Subjects . . . . . . . . . . . . . .45Elderly Subjects . . . . . . . . . . . . . . . . . . . . . . . . .45Eyeglasses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46One Eye Smaller than the Other . . . . . . . . . . . . .46

    Baldness . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46Double Chins . . . . . . . . . . . . . . . . . . . . . . . . . . .46Wide Faces . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47Thin Faces . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47Broad Foreheads . . . . . . . . . . . . . . . . . . . . . . . . .47Deep-Set Eyes and Protruding Eyes . . . . . . . . . .47Large Ears . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47Uneven Mouths . . . . . . . . . . . . . . . . . . . . . . . . .47Long Noses and Pug Noses . . . . . . . . . . . . . . . .47Long Necks and Short Necks . . . . . . . . . . . . . . .47Wide Mouths and Narrow Mouths . . . . . . . . . . .47Long Chins and Stubby Chins . . . . . . . . . . . . . .47

    4. Design Elements and Posing . . . . . . . . . . . .48The Concept of Visual Design . . . . . . . . . . . . . . . . .48Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .48Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

    Real Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50Implied Lines . . . . . . . . . . . . . . . . . . . . . . . . . . .51Diagonal Lines . . . . . . . . . . . . . . . . . . . . . . . . . .51

    Shapes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52Pleasing Compositional Forms . . . . . . . . . . . . . . . .52Tension and Balance . . . . . . . . . . . . . . . . . . . . . . . .53Subject Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55Background Control . . . . . . . . . . . . . . . . . . . . . . . .56Tilting the Camera . . . . . . . . . . . . . . . . . . . . . . . . .56

    5. Group Posing and Composition . . . . . . . . .57Try Something Unique . . . . . . . . . . . . . . . . . . . . . .57Head and Shoulders Axis . . . . . . . . . . . . . . . . . . . . .58Head Positions . . . . . . . . . . . . . . . . . . . . . . . . . . . .60Expressions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60Hands in Group Portraits . . . . . . . . . . . . . . . . . . . .61Designing Group Portraits . . . . . . . . . . . . . . . . . . .63

    Composition Basics Still Apply . . . . . . . . . . . . . .64Creating Lines and Shapes . . . . . . . . . . . . . . . . .64

    Helpful Posing Tools . . . . . . . . . . . . . . . . . . . . . . . .67Armchairs, Love Seats, and Sofas . . . . . . . . . . . .67Steps, Stairs, and Slopes . . . . . . . . . . . . . . . . . . .68

    The Posing Process . . . . . . . . . . . . . . . . . . . . . . . . .68Building Smaller Groups . . . . . . . . . . . . . . . . . . . . .69

    Start with Two . . . . . . . . . . . . . . . . . . . . . . . . . .69Add a Third . . . . . . . . . . . . . . . . . . . . . . . . . . . .72

    4 Master Posing Guide for Wedding Photographers

    PHOTOGRAPH BY JB AND DEETTE SALLEE.

    PHOTOGRAPH BY GREG GIBSON.

  • Adding a Fourth . . . . . . . . . . . . . . . . . . . . . . . . .73From Five On Up . . . . . . . . . . . . . . . . . . . . . . . .74

    Building Bigger Groups . . . . . . . . . . . . . . . . . . . . .75Building Really Big Groups . . . . . . . . . . . . . . . . . . .76Technical Considerations . . . . . . . . . . . . . . . . . . . . .77

    Keep the Camera Back Parallel to the Subjects . .77Shifting the Focus Field . . . . . . . . . . . . . . . . . . .77

    A Final Check . . . . . . . . . . . . . . . . . . . . . . . . . . . . .79

    6. Spontaneity in Posing . . . . . . . . . . . . . . . . . .81Active Posing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81Subtle Direction . . . . . . . . . . . . . . . . . . . . . . . . . . .81Staging Tips from Marcus Bell . . . . . . . . . . . . . . . .82Prompting Tips from Jerry Ghionis . . . . . . . . . . . . .86Greg Gibson is Not Quite a Fly on the Wall . . . . . .89Tom Muoz Has Respect for