POSING PITFALLS - Amazon S3Pitfalls+Checklist-Lindsay-Adler.pdf · Lindsay Adler TETHER TOOLS PRO #betterwhenyoutether Tethering with Tether Tools is an integral part of my workflow

POSING PITFALLS

5 THINGS THAT RUIN A POSE& HOW TO FIX THEM

CHECKLIST

http://lindsayadlerphotography.com

PROBLEMS: SOLUTION:

2 lindsayadlerphotography.comPOSING PITFALLS CHECKLIST

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POOR POSTURE©

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Direct your subject to “Pull up through the top of the head, elongate.” Be conscious of leaning back in a chair or collapsing into shoulders.

Causes shortened neck, compressed height, gathering in midsection.

notice the height difference when posture is elongated.

subject appears shorter.

bunching ofclothing.

collapsed shoulders.

neck appears almost twice the height.

subject away from back of chair improves posture providing a long, elegant look.

HEIGHT

NECK

SITTING

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FORESHORTENING©

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Change pose or angle to avoid anything coming directly toward or away from camera. Make a perspective or pose adjustment.

Perspective appears to compress appendages (arms, legs) and body looks shorter or cut off.

ARMS

LEG PLACEMENT

BODY COMPRESSION

elbow facing camera compresses arm for an unflattering pose.

forward facing with arms close to body and legs toward camera creates boxy look; the arms and legs both are compressed and appear shorter.

this pose hides legs; appearance of floating torso.

changing perspective shows good form (left), but with good posture (above) pose is fixed.

same pose, but changing either the subject’s position or your position (perspective) makes this a better pose.

elbow placement out to side for a more theatrical look (left) and in towards body (right) provide two good solutions.

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PROBLEMS: SOLUTION:There are three main solutions. Create negative space, utilize “in-body posing,” or contour the body with arms. Try to avoid too baggy clothing.

Elements of the body blend together to make the subject have unflattering form or silhouette. This includes arms tight to body, overly baggy clothes, feet appearing out of the head, and more.

MERGERS©

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1: CREATE NEGATIVE SPACE

SIDE POSE

ARMS - LONG SLEEVE

arms tight to side; long sleeves merge with body giving wider or boxy appearance. solution example 2:

negative space with triangles (here, two).

solution example 3: negative space and hand riased gently on jaw.

solution example 1: open arms create pleasing negative space.

(left): same principles apply with a side pose; arms to side creates mergers;(right): elbows bent back slightly creates a negative space solution and a stronger pose.

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MERGERS©

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2: UTILIZE “IN-BODY” POSING

AVOID BAGGY CLOTHING

3: CONTOURING

before: crossed arms with elbows at side and flat leg position create an unflattering boxy look.

after: “in-body” posing is created by bringing the arms and legs within the frame of the body; by meeting the arms in the center, an hour-glass shape is created and the hands are placed to create elegant leading lines.

before: arms at sides of body create amerged and boxy pose.

after: contouring the body with the arms bends one elbow in near the waste of the subject,

enhancing pleasing shapes and curves.

Here, the subject has one hand on the hip to create negative space; the other arm is contoured against the frame by having the subject shrug her

shoulder back, allowing the arm to bend at the elbow and hand slide upward.

before: baggy clothing makes the subject look wider, not flattering; (a): popping up elbows slightly to create negative space not working here because the clothing is filling in the space; makes subject look even wider!

(b): hand placed on hip inside of jacket gives definition to her waist, and opens negative space; after: other hand placed higher on jacket, slinking in arm, gives definition to other side of waist; perfect!

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CONTINUED

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www.TetherTools.com

Lindsay AdlerTETHER TOOLS PRO

#betterwhenyoutether

Tethering with Tether Tools is an integral part of my workflow. My entire creative team works together to bring our concepts to life, and tethering allows us to discuss the success of the shoot as it’s going. No more worry if we ‘got the shot’... we KNOW when we’ve got it!

PROBLEMS: SOLUTION:


PROBLEMS: SOLUTION:Usually pose with the pinky side of hand toward the camera. Aim to have relaxed hands. Try moving hands into place for believable hand pose. “Wiggle and set them back down” to relax more.

Poorly placed hands distract from entire pose. “Bad hands” include covering the jawline, hands pushed into the face, tense or claw-like fingers, too much palm or back of hand is visible.

BAD HAND POSE©

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be sure to be look for these bad hand poses

near the face which distract from the

entire pose:

front of handfacing camera

hand coversentire jawline

white open palm distracts from pose

open fingers spreadon neckline

the pinky toward camera on the “after” shots creates more elegant lines and flattering hand placement; to create relaxed fingers, fingers are often “wiggled” and set back down for a gentler look.

white open palm distracts from face AFTER

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BAD HAND POSE©

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clenched fingers on the waist are distracting and create a mood of tension in the image

hands placed gently on thighs, with back shoulder shrugged to bend back elbow slightly, hand slightly raised.

hands raised slightly above waist, bent at wrist and elbows back slightly; a more relaxed subject and a much better pose.

this pose is awkward and not relaxed

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PROBLEMS: SOLUTION:

WEAK EXPRESSION

Relax the forehead, eyebrows and lips. If using eye contact, be sure you achieve a strong connection with camera. Get to know your subject to help them relax. Use positive reinforcement and their name often.

Tense, uncomfortable, or unbelievable expression detracts from entire image.

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wide open eyes and raised eyebrows

having subject release tension and relax produced natural smile and relaxed eyes.

a smile or smolder to their eyes pulls out a soft and natural expression for a great pose.

a big breathe in and out relaxes the subject for more natural looking lips.

eyes show no expression

lips have tension and look uneasy

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LINDSAY ADLER

lindsayadlerphotography.com

Fashion photographer Lindsay Adler has

risen to the top of her industry as both

a photographer and educator. Based

in New York City, her fashion editorials

have appeared in numerous fashion and

photography publications, including,

Marie Claire, ELLE, InStyle, Noise

Magazine, Zink Magazine, Rangefinder,

Professional Photographer, and dozens

more. As a photographic educator,

she is one of the most sought after

speakers internationally, teaching on

the industry’s largest platforms and at

the most prestigious events, having been

named one of the top 10 best fashion

photographers in the world. Lindsay has

worked with some of the top brands in

the photographic and related industries,

such as Canon, Adobe, and Microsoft.

A clean, bold, and graphic style has become the hallmark of her work, whether shooting advertising campaigns, designer look books, jewelry, hair campaigns, fashion editorials, or professional athletes. Lindsay is renowned for her creativity and collaborating with designers and stylists in order to

create fresh looks.

An author of four books, she is always working on new ways to share her passions and knowledge with others. Each year she teaches tens of thousands of photographers world-wide through prestigious platforms such as creativeLIVE, KelbyOne, and the industry’s biggest conferences.



Documents

POSING PITFALLS - Amazon S3Pitfalls+Checklist-Lindsay-Adler.pdf · Lindsay Adler TETHER TOOLS PRO #betterwhenyoutether Tethering with Tether Tools is an integral part of my workflow