POSES for Photographing Women A VISUAL SOURCEBOOK FOR PORTRAIT PHOTOGRAPHERS Amherst Media® PUBLISHER OF PHOTOGRAPHY BOOKS Michelle Perkins 500 DOWNLOAD more books from : WeLove.UCoz.com Copyright © 2009 by Michelle Perkins. All rights reserved. Front cover photographs by Tim Schooler. Back cover photograph by Dan Brouillette. Published by: Amherst Media, Inc. P.O. Box 586 Buffalo, N.Y. 14226 Fax: 716-874-4508 www.AmherstMedia.com Publisher: Craig Alesse Assistant Editor: Barbara A. Lynch-Johnt Editorial Assistance: John S. Loder, Carey A. Maines ISBN-13: 978-1-58428-249-5 Library of Congress Control Number: 2008926669 Printed 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, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher. Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. The author and publisher will not be held liable for the use or misuse of the information in this book. D etermining the best way to pose your subject—a way that is flattering to the individual, appropriate to the setting and clothing, and visually appealing in the overall composition—can be one of the biggest challenges in creat- ing a successful portrait. This is especially true when creat- ing portraits of women, where the photographer may be called on to create anything from a very traditional head- and-shoulders pose to a more adventurous full-length look straight out of the pages of a fashion magazine. Quite sim- ply, the variations are almost limitless. This collection is a visual sourcebook designed to address exactly that problem. Filled with images by some of the world’s most accomplished portrait, fashion, and commercial photographers, it provides a resource for photographers seeking inspiration for their own work. Stuck on what to do with a particular client or unsure how to use a given prop? Flip through the sample portraits, pick something you like, then adapt it as needed to suit your tastes. Looking to spice up your work with some new poses? Find a sample that ap- peals to you and look for ways to implement it (or some el- ement of it) with one of your subjects. For ease of use, the portraits are grouped according to how much of the subject is shown in the frame. Thus, the book begins with head-and-shoulders portraits, followed by portraits that introduce one or both hands into the head- and-shoulders look. Next are waist-up portraits, featuring images that include the head and shoulders, arms and hands, and at least some of the subject’s torso. Moving on to three- quarter-length portraits, the examples feature subjects shown from the head down to mid-thigh or mid-calf. The balance of the book features full-length images—the most complex portraits to pose, because they include the entire body. Both the three-quarter- and full-length portraits are subdivided into poses for standing subjects, seated subjects, and reclin- ing subjects. It can be difficult to remain creative day after day, year after year, but sometimes all you need to break through a slump is a little spark. In this book, you’ll find a plethora of images designed to provide just that. About This Book Contents About This Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Head-and-Shoulders Poses . . . . . . . . . . . . . . .PLATES 1–127 Waist-Up Poses . . . . . . . . . . . . . . . . . . . . . .PLATES 128–217 Three-Quarter-Length Reclining Poses . . . . . . . . . . . . . . . . . . . .PLATES 218–236 Three-Quarter-Length Seated Poses . . . . . . . . . . . . . . . . . . . . . .PLATES 237–270 Three-Quarter-Length Standing Poses . . . . . . . . . . . . . . . . . . . .PLATES 271–243 Full-Length Reclining Poses . . . . . . . . . . . .PLATES 244–371 Full-Length Seated Poses . . . . . . . . . . . . . .PLATES 372–440 Full-Length Standing Poses . . . . . . . . . . . . .PLATES 441–501 Appendix: Posing Basics . . . . . . . . . . . . . . . . . . . . . . .123 The Photographers . . . . . . . . . . . . . . . . . . . . . . . . . . .125 3 PLATE 1. PHOTOGRAPH BY CHERIE STEINBERG COTE. PLATE 2. PHOTOGRAPH BY BILLY PEGRAM. PLATE 3. PHOTOGRAPH BY BILLY PEGRAM. PLATE 5. PHOTOGRAPH BY TIM SCHOOLER. PLATE 4. PHOTOGRAPH BY TIM SCHOOLER. PLATE 6. PHOTOGRAPH BY VICKI TAUFER. PLATE 7. PHOTOGRAPH BY VICKI TAUFER. PLATE 8. PHOTOGRAPH BY TIM SCHOOLER. PLATE 9. PHOTOGRAPH BY TIM SCHOOLER. PLATE 10. PHOTOGRAPH BY TIM SCHOOLER. PLATE 11. PHOTOGRAPH BY TIM SCHOOLER. PLATE 12. PHOTOGRAPH BY TIM SCHOOLER. PLATE 13. PHOTOGRAPH BY STEVEN BEGLEITER. PLATE 15. PHOTOGRAPH BY TIM SCHOOLER. PLATE 14. PHOTOGRAPH BY TIM SCHOOLER. PLATE 16. PHOTOGRAPH BY BILLY PEGRAM. PLATE 17. PHOTOGRAPH BY BILLY PEGRAM. PLATE 18 (LEFT). PHOTOGRAPH BY WES KRONINGER. PLATE 19 (ABOVE). PHOTOGRAPH BY WES KRONINGER. PLATE 22. PHOTOGRAPH BY BILLY PEGRAM. PLATE 20. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 21. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 25. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 26. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 27. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 23. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 24. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 30. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 31. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 28 (BELOW). PHOTOGRAPH BY TIM SCHOOLER. PLATE 29 (RIGHT). PHOTOGRAPH BY TIM SCHOOLER. PLATE 32. PHOTOGRAPH BY BILLY PEGRAM. PLATE 33. PHOTOGRAPH BY BILLY PEGRAM. PLATE 34. PHOTOGRAPH BY CHERIE STEINBERG COTE. PLATE 35. PHOTOGRAPH BY STEPHEN DANTZIG. PLATE 36 (LEFT). PHOTOGRAPH BY ROLANDO GOMEZ. PLATE 37 (BELOW). PHOTOGRAPH BY STEVEN BEGLEITER. PLATE 38 (BOTTOM). PHOTOGRAPH BY CHERIE STEINBERG COTE. PLATE 39. PHOTOGRAPH BY BILLY PEGRAM. PLATE 42. PHOTOGRAPH BY DEBORAH LYNN FERRO. PLATE 40. PHOTOGRAPH BY DEBORAH LYNN FERRO. PLATE 41. PHOTOGRAPH BY JEFFREY AND JULIA WOODS. PLATE 43. PHOTOGRAPH BY DEBORAH LYNN FERRO.