The goal…whether you shun typical posing or embrace it…is to have your portraits look as natural as possible and allow your viewers to see your subject without much thought given to the “pose”. Posing encompasses much more than just the positioning of your subjects body…it also involves the attitude that you want them to project and the facial expression that you want to capture.
One of the main things that I strive for in posing my seniors is to convey movement and fluidity in the image. If you like a particular pose, try to change it up a bit by having your subject look a different direction…off to the side, down, up…all can give very different looks to the same pose. Shooting at a slight downward angle, particularly for close-ups, helps to slim your subjects face. Be mindful of limbs…a slight bend at the elbows and knees in every pose will always make the image look more natural. Avoid shooting heavier people straight on…in fact, it’s typically not flattering even for thin people. For guys you want to help position them in order to make them look strong and confident in their images. Something to watch for with guys is the position of their hands when their arms are relaxed…you want to be mindful of hand positioning that appears feminine. One of the most helpful things you can do to improve your posing ideas is to create a posing journal for yourself. Another thing that can be helpful as you start to build your own portfolio of shots that you love is to take advantage of your phone if you have image library capabilities on it. Inspiration is plentiful online…but, do be careful that you are being inspired to create and not inspired to copy. Many of you have become subscribers to my blog since this series began…so I just wanted to say thank you and welcome!
AND…a HUGE thank you to the spectacular Jodi Friedman for inviting me to do this series…it’s been a lot of fun and I’m looking forward to the rest of the series which will cover more of the business side of working with seniors. Thank you so much…this is great stuff that I can use for more than just senior poses!
I am a senior this year and i really want my senior pictures and your pictures really stood out to me many things i have wanted pics by that you have in these photos! Just recently I have got a few emails from people asking about the food photography setup that I use. Because of this, I have my little system which really limits the time it takes to shoot after the food has been cooked and plated. To make all this digestible and manageable I am going to split the topic of food photography into two posts. My personal preference is for the brand Manfrotto, which I have always found to be well built.
If you are using a compact camera for your shots, you should absolutely always shoot with a tripod no matter what. This gives much more control to developing your digital images, and is fantastic for fixing any exposure problems an image might have. TIP: Identify areas in your house that would work for food photography at different times of the day. ARTIFICIAL LIGHT: For a little bit of cash (or hardly any cash and some handy DIY skills) you can put together an artifical light setup that is controllable, and give decent quality results. What you want is a light that is as white as possible (halogen is good here), and also as diffuse (soft) as possible. Now all that is needed is a little fine tuning of placement to get the fill light exactly where you want it. All I normally do is hold this card with one hand, and hit the shutter release button with the other. A scrim is just a sheet of something that will soften and diffuse any light passing through it.
I also built a large frame (much like a frame for an artists canvas), which I have taped some vellum to as well. As we look around, we are able to tell what color is white, white is cream, and what is light blue, even under different lighting conditions. In order to get the correct color, and whites be white on a camera, we have to tell it what color is actually white.
You can also get extra fancy by even specifying the Kelvin (light temperature, and thus color) of the lighting conditions you are in. On most digitalSLRs it is also possible to take a picture of something white (or even more preferably light neutral gray), and tell the camera that this shot color should be neutral – or white. White balance can also be adjusted inside most of the common photo editing packages – more on that in the second post on food photography. One thing that I try and pay attention to when shooting is the quality of any reflections or highlights. If you shoot next to a window, your are most likely going to see anything outside the window in a reflection in your plate or bowl, since the light outside is so bright.
PDF targets require the Adobe Acrobat Reader, which you can download for free at the Adobe web site. The advantage of the PDF format is that they're already properly scaled for a standard page. Melt some candle wax from old candle stubs in a double boiler made of an old pot filled partially with water and a tin can as the inside pot. Spritz the bore with a quick lubricant like WD-40 to minimize "waxing." This should be done every few rounds.
When you're all done, be sure to give the barrel a good scrubbing to make sure no buildup will cause problems at the range using real ammo. Some photographers are naturally gifted at pulling this off and others have to study and learn techniques that will aid them in this, but posing and giving direction to our clients is a huge part of our job as professionals, whether we like it or not. This doesn’t have to be as technical as it sounds…but, it’s important to think ahead of time about what you want a particular image to feel like.
That doesn’t mean that they need to look like they are in motion, but rather just convey that they are a living, breathing, moving person…not a static creature! Most people tend to slouch when they are comfortable…and while you want your subjects to look comfortable you don’t want them to look slouched. It helps to reduce or hide any double chins and is a very flattering angle for most everyone. Also…in standing positions, direct your subjects to balance their weight more on one side that the other since that is the way that we naturally stand.


Folding arms across chest, squatting in some variation of the catcher’s position, leaning forward with elbows on thighs in a sitting position, and hands in one or both pockets or belt loops are all standard ways of positioning a male senior in order to give that appearance. As long as you are steering away from static posing you can really do well with images that show a genuine part of who they are. It will take time to build up a library of posing that appeals to you, but it can be an invaluable tool to you as you prepare for your sessions.
You can upload some of your favorite shots to your phone and if you find yourself in a creative rut during your session just flip through your portfolio…you’re juices will be flowing again in no time! It’s so hard, particularly when you are starting out in this business, not to copy the work of photographers that you are inspired by.
I like to have a lot of options so that I can choose my absolute favorite image in a series rather than have to settle for one where I’m not happy with the expression or attitude. I have just opened up registration to the fall FOCUS 2009 photography workshop in August of this year.
I honestly find those some of the most flattering emails I have ever received, because honestly, I am a big time hack.
This first post will concentrate on more physical elements – cameras, lighting, bounces, scrims and plating.
I got my first entry level digitalSLR maybe 6 years ago now, and bought a cheap lens for it. Even if you think the light is fine for handheld shooting, it is always best to pop your camera on a tripod. Compact cameras shoot in JPEG (I don’t know of any that shoot RAW, but could be mistaken). Through this hookup you can control the camera via computer, take a shoot, and almost instantly see it on your computer screen. Just being able to see your image composition on a big screen is huge, and really helps you work the look of your image andfix any lighting or composition problems. Some people shoot in a garage, and just roll up the garage door to shoot – my garage in Seattle is far to dingy for that however! Bright early afternoon sun is lovely, but it can also be extremely strong – and lead to very large strong highlights, and very harsh shadows.
For instance – my dining room works well around lunchtime, my kids playroom works great in the afternoon. This can be tricky with some shots, so I might use a chair, or one of Drake’s toys to prop up the card just so. You could even knock this back a little bit just by moving the board a little further away from the food.
I personally use artists vellum, which can be picked up in rolls at just about any art supply store.
This gives me a large moveable scrim, which is pretty handy for when I shoot a little way away from a window, or when shooting something outdoors. If the light isn’t to harsh, try a shoot with and without the scrim, and see which you prefer. Both shots are in the same location – a light filled area that is strongly lit by direct sunlight. The really harsh shadows are removed, as too are those strong highlights that were washing the image out.
Things get more complicated as all lights have different colors to them – the sun is yellow, daylight is a wee blue, lightbulbs are pretty darn yellow, hallogen bulbs are more neutral. To do this, just place a white board or something in your shot, take the shot, and set your camera to use that shot as the white balance. Well, we want to make sure that in our food shots white plates show up as white, and the colors of the food you are shooting are shown accurately.
It is a good idea to look at other objects (especially those either light, or brightly colored) in your room, and make sure they aren’t showing up in any reflections you might have.
I will often place one in front of a bright object I cannot move too easily (a bright red picture, or one of Drakes heavy toys).. Experiment, do things differently every time until you find a setup and style that works for you.
For most photographers, posing seems to be one of those love it or hate it aspects of what we do. Sometimes you can capture drastically different moods in the same pose just by a change of facial expression. We’ve all seen the chain store poses that are so stiff that the subjects almost don’t look like real people. Position arms on hips, up against a wall or fence, overhead, in pockets…front or back…anything that shows movement.
Have one or both legs bent at the knees, at differing heights to show more fluidity in the pose. Just make sure that you don’t get stuck in the rut of always shooting from that angle when shooting close-ups.
Some of the best images for your posing journal can be found in trendy catalogs and magazines. We all have those whose work we admire and when we see an image that resonates in us…we naturally desire to create the same thing that we see. So…on average, I shoot around 200 frames at a typical senior session…sometimes more if we are shooting at more than one location.
If you are interested in learning more about my shooting techniques and my post processing, as well as the ins and outs of running a successful photography business then please visit my blog for more information. A lot of food can start looking pretty dodgy if it has been sitting out for even just a few minutes, especially what I cook a lot of – seafood.
Since then I have upgraded the lens, and just also upgraded the camera to a newer digitalSLR. If you think you are going to be doing this for a long time, get an entry level digitalSLR, and a decent quality lens for it and you will be very happy.
You want to make sure it is a sturdy, well built solid tripod, even if you are using a compact camera.
I tend to delete ones that I know I am never going to want (out of focus, over exposed etc). Sometimes I just don’t have time to pull my laptop out, get it all setup and so forth.
Here in Seattle through the winter I am certainly unable to shoot in natural light, since I do a lot of my photography late afternoon when I get back from work.


You get strong shadows, overblown highlights, and a bad yellow cast to your light – not to mention making your food look rather greasy. In front of this is an umbrella which softens light right off, and bounces it around a room. In the first shot there is no bounce card, in the second the bounce is on the right of the food. If I am shooting next to a window, I just tape up a sheet of it onto the window, and voila, the light through the window is instantly softened.
If you have really strong light coming in you can even use a relatively thin bed sheet as a scrim.
Post production editing is fine, but getting it right when you take the shot is certainly the best approach. It was shot in artifical light, and you can see there is a strong yellow cast to the image.
The scrim not only softens light, but because it is generally placed between the window and your food, those nasty outside reflections are cut out, and you get a wonderful, white smooth reflection going on. Avoid having the main light in the same direction as the camera – you are going to get very flat lighting (like on camera flash lighting) and bad looking food.
I have come up with a little method that really helps me get a shot as fast as possible, without letting food get cold, pissing off a 2 year old waiting for his dinner, or making guests wait.. Even earlier that day setup the board with a tablecloth or covering, arrange plates and so forth on it to get a decent setup. F-Stop controls the size of the lens aperture, which in turn controls how much of your shot is in focus.
Whether you are a very traditional-posed-portrait type of photographer or all the way on the other end of the spectrum as a lifestyle photographer…you will always have to at least give direction to your clients as to how to situate themselves so that they will look as natural as possible.
You want your viewers to engage with the subject of your images…and the first step to achieving that goal is for YOU to be engaging with your subject. Just cut out images that appeal to you and jot down what it is that you love about the images and refer to it often.
It’s widely accepted that it’s hard to be unique in this business…especially now with the internet being a virtual showroom for every photographer’s work…but your unique style will develop as you convey your connection with your subjects and through your post processing methods.
I’ve subjected my poor clients to some pretty gross stuff all in the name of getting great shots!
I don’t do photography as a job, and really have very little time to shoot the food I cook, before I eat it. The biggest bonus of RAW is that when the shot is taken, extra information to do with the exposure, white balance and tone is saved with the image.
Thankfully it isn’t crazy hard to get a lighting setup that is going to work pretty well for most food shots.
This makes for much softer highlights and shadows, and far sexier looking food than when shot with a basic lightbulb. This vellum does the same thing as the umbrella – softens the light right off, giving smoother highlights and soft, diffuse shadows.
The camera will take a stab at guessing what lighting conditions are, and what color is actually white.
If I left the shot as is, the colors would be off and the food wouldn’t look right, or even appetizing. When it comes time to shoot, drag the board out (with dishes still on it!), position in the light, and get ready to shoot. Your camera is an extension of your eyes…and if you are engaging with them and making them feel comfortable in front of the camera that will come across in your images. Even if a particular pose has been done before…and it most likely has…you can make it yours by not focusing so much on the posing itself, but more on connecting with your subject in a way that draws your viewers in…and makes them want to keep looking. Particularly in urban settings, which are obviously my favorite, you definitely have grunge to deal with. This means that with just the swish of a lever your camera is either locked or released from the tripod.
Inside your photo editing software you are then able to very accurately adjust the exposure, white balance and so forth after the image is taken! It also has the added bonus of making highlights smoother, making objects look more rounded, making your food not look greasy, and also making reflections look cleaner. Some cameras also let you set the white balance by telling it what type of lighting you are taking the shot in. Later when you look at your images on your computer, pick one that has the food in focus, but the background slightly blurred out – this pulls focus to the food, and adds depth and visual interest to your shot.
I happen to be a HUGE germaphobe…I can’t even begin to tell you how true that is…yet, somehow when I am shooting I can overlook a myriad of things that on a daily basis would make my skin crawl. You are able to take complete control over exposure, white balance, F-stop, shutter speed, ISO – and all that good stuff. This is caused by JPEG artifacts – to make the image small, JPEG removes some data from an image, which leads to slightly lower image quality.
I’ve never had anyone complain and I do make the safety of my clients a huge priority, so I would not put them in a situation that would be dangerous…but, dirty…yes. This is going to limit image quality somewhat, and also the camera’s ability to pick up subtle light and textures. You are able to get some extremely good quality lenses, that really have a huge impact on the quality of your shot. Typically most point and shoot cameras don’t have a lot of photographic control either.
DigitalSLRs also are able to shoot in RAW format – which is a wonderful uncompressed image format that allows for a lot of control once you get the image off your camera and onto your computer. It is rather useful to be able to manually adjust more technical camera settings like F-Stop (aperature size), ISO, shutter speed and so forth.
Especially F-Stop since this controls the range of what is going to be in focus in your shot. Some compact cameras have the option to adjust some of these settings – they are more expensive however.




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Comments to «How to best shoot indoor photos juegos»

  1. undergraund on 20.10.2014 at 19:40:45
    Process, then I would counsel?tethering?the ensuing picture.
  2. Sindibad on 20.10.2014 at 17:27:48
    Shutter pace for the 3 pictures so you can merge them slight tint over.