500 POSES jf, Photographing Brides A VISUAL SOURCEBOOK FOR DIGITAL WEDDING PHOTOGRAPHERS. ~ Michelle PerkinsCheck out Amherst Media's blogs at: htp://portrait-photographer blogspot.com/ hhttp://weddingphotographer-amherstmedia.blogspot.com/ Copyright © 2010 by Michelle Perkins All rights reserved Front cover photographs by Dawn Shields, Back cover photograph by Regets Photography Published by Amherst Media, Ine PO. Box 586 Buffalo, N.Y. 14226 Fay: 716-874-4508 ‘www AmherstMedia.com Publisher: Craig Alesse Assistant Editor: Barbara A. Lynch-Johnt Editorial Assistance: Sally Jarzab, John S. Loder, Carey A. Maines ISBN-13: 978-1-58428.272-3 Libraty of Congress Control Number: 2009903898, Printed in Korea, 10987654321 No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded of 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,Table of Contents About This Book voce ee tet teevstetteesttetteeteneesed Plates Head-and-Shoulders Poses... . cee cere eee tants 1-125 WaistUp Poses . snares 126-182 ‘Three-Quarter-Length Reclining Poses. snares 183-190 ‘Three-QuarterLength Seated Poses ans 191-216 ‘Three-QuarterLength Standing Poses 2... 0.22.2 cee RATES 217-318 Full-Length Reclining Poses... . coerce sees aes 319-333 Full-Length Seated Poses aes 334-377 Full-Length Standing Poses... . voces e vee ATES 378-487 Detail Images 66+ seeeeeeeeree a ss stares 488-506 Posing Basics .. Portrait Lengths Facial Views ‘The Shoulders ‘The Head Arms . ands Chest ‘Waist and Stomach Lega serecnstes Hips and Thighs Feet The Photographers Bibliographical References... 6.2.2.2 cece cece eee eeeeeeeeees ee 126About This Book Do the best way to pose a subject—a way that is simultaneously flattering, appropriate, and visually appetling—can be one ofthe biggest challenges in designing a successful portrait. This is especially true when creating, portraits of brides, where the photographer may be called fon to cfeate anything from a very traditional head-and- shouldets pose to a more adventurous full-length look straight ou of de pages ofa fishion magazine. Quite simply the variations are almost limitless—as is the pressure to per- form flawlessly throughout this once-in-a-lifetime event ‘This collection isa visual sourcebook designed to address exactly that problem, Filled with images by some of the world’s most accomplished wedding photographers, it pro- vides a resource for professionals seeking inspiration for their ‘own work, Stuck on what co do with a particular bride oF unsure how to make use of alocation? Flip through the sam- you like, then adapt it as needed to suit your tastes, Looking to spice up your work ple portraits, pick somethin, ‘with some new poses? Find a sample that appeals to you and look for ways to implement it (or some element of it) with ‘one of your brides. or ease of use, the portraits are grouped according 0 how much of dhe subject is shown in the Frame. Thos, the book begins with head-and-shoulders portraits. Next are \waist-up portraits featuring images that include the head and shoulders, arms and hands, and at least some of the sub- ject’s torso. Moving, on to three-quarter-length portraits, the examples feature subjects shown from the head down to smid-thigh or mid-calf. The balance of the book features Fill: length images—the most complex portnits to pose because they include the entire body. Both the three-quarter. and fal-length portraits ate additionally subdivided into poses for standing, subjects, seated subjects, and reclining subjects. ‘Ab uch ws posable, iamges ae also grouped themaiialy to demonstrate poses for photographing the bride with her bbouguet, displaying herrings, showing the back ofthe dress, ct. In these subgroupings, it becomes particularly obvious hhow even subtle posing changes can completly transform an image—and how differently photographers can approach the creative pro. Ir can be difficult to remain creative day after day, year afier year, but sometimes all you need to break through a ess of posing, slump is alittle spark, In this book, you'll find a plethora of images designed to provide just that.A fier we leave the bride’s house, Is photojournalis until we do the family portraits after th e bride to Temain in her car when she arrives feate when the bride arrives at the church. To prepare for th groom and guests waiting inside without having to wMS ey rf ray c= Ve et) a. >*) Ti yong and tx eap00 da whatever «I climb a tree.Most nain light and bringi people want their eyes to look as lange as possible, By turning th foward the subje ck to the camera, the pupil shifts more the eye opening and gives the eye more impact as well“Ask yourself what it is about a scene that draws your interest, and determine whether surrounding elements support or detract from the subject’s magnetism. This process will help you decide what to include and, more importantly, what not to inclide.”*—Mareus Bell‘Brides who are into the art the time it ta ate those pictures.ago, Looked at wed omething difdevelopa totally at>— Kevin Jairgji 8 portrait, i is important to keep in-min ad the image she has worked to create.er take things at face valu sible for adapting a good idea to fit your net The dumsecesfl peo and in ie in general, are the ones who con chappy and truly successful people in ti at new ideas and think, ‘It could work—and Tthink I can make it even better!"*"—Jeff Sith mahappy ew ideas and say that they won'tPhotography before the ceremony isa lot of fr Photography after the ceren king hat time is the reception?APPENDIX Posing Basics his section covers the fundamental rules of traditional posing —techniques that are illustrated in many of the images inthis book. While these rules are often intentionally broken by contemporary photographers, most arc comer stones for presenting the human form in a attering way. Portrait Lengths ‘There are three basic types of poses, each defined by how much of the length of the subject's body is included in the image. Head and shoulders portraits, or headshots, show the subject's head and shoulders, Ifthe handsare lifted to a po- sition near the face, these may also be included. Waist-up portraits include the subject’s head and shoulders along with at least some of the torso. In portraits of women, these images are offen cropped just below the bustline or at the waist (Waist up portraits are sometimes considered a type of headshot.) Thhree-quarter- length portraits show the subject from the head down to the mid-thigh or mid- calf. In some cases, one foot may be visible, Full-length portraits that show the subject from the head down to the feet (or atleast the ankles). In some cases, only fone foot may be visible. FIC 120When including less than the full body in the frame, itis recommended that you avoid cropping ata joint (such as the knee oF elbow this creates an amputated look. Instead, crop between joints Facial Views The most flattering facial view depends on the bride, the lighting, and the mood you are atten In the full-face view, the subject’s nose is pointed at the camera. This is the ‘widest view of the face, so it may not be well suited to brides with rounder faces In the three-quarters view (sometimes called the two-thirds view), the sub ject’s face is angled enough that one earis hidden from the cameta’s view. This is a flat slimming view for most faces. In this pose, Keep in mind that the fur eye will appear smaller than the near eye because it is farther away from the cam. ip of the nose extends past or that the bridge of the nose abscur: era, Also, be sure not to turn the head so far that thi the line of the che the far eye. In the profile view, the subject’s head is turned 90 degrees to the camera, When brow, and eyelashes are obscured. ating a profile, be sure to turn the bride’s face so that the far eye, eye The Shoulders The bride's shoulders should usually be turned at an angle to the camera. Havin the shoulders face the camera directly makes h ook wider than she really is and can yield a static composition. With a slim brid however, sq ring the shoulders to the camera can give the imag aan assertive mood that is quite appealing, The Head Tilting the Head. Tilting the head slightly produces diagonal lines that can help a pose feel more dynamic, In portraits of women, the head is wadidonally tilted toward the near or high shoulder, but this rule is often broken. The best practice is to tilt the bride’s head in the dire n Height. A median that most flatters her. » chin hei Jat is desirable, Ifthe chin too high, the bride may look conceited and her neck may appear elongated. Ifher chin is too low, she may look timid and appear to have a double chin or no neckEyes. In almost all portraits, the eyes are the most important part of the face. ce slightly the bride’s eyes back toward the camera re ‘Typically, eyes look best when the eyelids border the iris. Turning the away from the camera and dinectin ., making her eyes look larger. veals more of the witite of the ey Arms The bride’s arms should be separated at least slightly from her waist, This creates ‘space that slims the appearance of her upper body, It also creates a triangular bbase for the composition, leading the viewer's eye up to her face. Additionally, keep in mind that simply bending the elbows creates appealing, diagonal lines in your composition—and placing these carefully can help direct che viewer of the image to the bride's face, Hands Keep the hands at an angle to the lens to avoid distorting their size and shape. Photographing the outer edge of the hand produces more appealing look than showing the hack of the hand or the palm, which may look unnaturally Iarge (es- pecially when close to the fice). Additionally is usually advised that the lands should be at different heights in the image. This creates a diagonal line that makes the pose more dynamic. Wrist. Bendin, ly by lifting the hand (not allowing down) creates an appealing curve thats particularly flattering in bridal porwaits Fingers. Fingers look best when separated slightly, This gives them form and definition, Props. Hands are offen casiest to pose when they have something to do— cithera prop to hold of something to rest upon. When photograph holding her bouquet, have her grasp it gently, or opt to hid ber hands behind the bouquet. When photographing the bride’s rings, give her something to rest her the wrists sl to flop the bride hands upon (her lap, the back ofa ebair, ete). 121 4 pose thar places the torso at an angle to the camera emphasizes the shape of the chest and, depending on the lighting, enhances the form-revealing shadows on the cleavage. Turning the shoulders square to the eamera tends 10 flarten and de-emphasize this area. Good posture, with the chest lifted and shoul ders dropped, is also critical to a flattering rendition Waist and Stomach Separating the arms from the torso helps to slina the waist In seated poses, a very upright posture (almost to the point of arching the back) will help to flatten the stomach area, as will selecting a standing pose rather than a seated one. Legs Although most brides wear full-length gowns, posing the legs properly remains desirable because it impacts the posture of the entire body. Asking the bride co put her weight on her back foot shifts the body slightly away from the camera for a more flattering appearance than having the wei it distributed evenly on both feet, Having her s nely bend her front knee wil also help to ereate a nice line on the lower part of the gown. Hips and Thighs Tn some gowns, this area will naturally be concealed. Ifthe bride has opted fora own that is fitted chrough the hips and thighs, pose her hips at an angle to the camera and away from the main light, In a seated pose, have the bride shift her \weight onto one hip so that more of her rear is tumed away fom the camera, Feet Brides are often very proud of their shoes, but pictures of feet with the toes pointed straight at the camera tend to look distorted. Instead, photograph the feet, at an angle to the camera—better yet, place them at two different angles to the camera. A good rule of thumb is to ensure that at least one foot is turned enough that the heel is shown.The Photographers Marcus Bell (www.studioimpressions.com.au). Mar cus Bal is the owner and principal photographer of the bou- tique photography studio Studio Impressions. He has been honored with over one hundred Australian and international awards for his photography, including being named Aus- tralian Wedding Photographer of the Year in 2006, Addition- ally, be has written for and been profiled in numerous pho- tography magazines and lectured to photographers around the world. He is the author of Master's Guide to Wedding Pho- agrmphy from Amberst Media, Doug Box (www.texasphotographicworkshops.com). Besides being an excellent photographer, Doug Box is a dy~ ppamic and entertaining speaker who has appeared in a wide variety of seminars around the world, He was also chosen to teach at the International Wedding Institute by Hasselblad University. He is the owner of Texas Photographic Work- shops, a year-round educational facility and the author of nu- merous books, including Professional Secrets of Wedding Phovography, Profesional Seerets of Natural Light Portrait Photagraply, anh Doug Bass Guide to Dosing for Portrait Pho- sagraphers all from Amherst Media Mark Chen (www.markchenphotography.com). Mark Chen isa professional photographer, Adobe Certified Photo- shop Expert/Instructor, Photoshop trainer, and owner of ‘Mark Chen Photography in Houston, Texas. In addition to hhis studio operations, Chen teaches Photoshop at Houston Baptist University and Houston Community College and is touring the nation giving Photoshop training sessions. Marke isthe author of Creative Wedding Album Design Techniques swith Adobe Photashop from Amherst Media Dave and Quin Cheung (www.dqstudios.com). Dave and Quin Cheung are the visual artists behind DQ Studios. Their strong story-telling ability, coupled with their high- fashion eyes, has carned them the love and respect of their clients and won them multiple international image and album awards. Dave and Quin are also highly respected educators ofthe wedding industry and have taught photographers from Lat around the world on topics ranging from the philosophy of ‘wedding photography to businessand sales structure. As co creators of the QuiKeys workflow system, Dave and Quin continue to innovate workflow solutions fiom shoot toalbum, design, Dave and Quin make theis home in Calgary, Alberta, Canada with theis vo young boys. ‘Tracy Dore (www.tracydorrphotography.com). Tracy Dorr, who holds a BA in English/Photography from the State University of New York at Buffalo, has been shooting weddings in a professional capacity since 2003 owner of Tracy Dorr Photography, and in 2009 won two. Awards of Excellence from WPPI (Wedding and Portrait Photographers Intemational). Rick Ferro and Deborah Lynn Ferro (www.rickferro com). Rick Ferro and Deborah Lynn Ferro operate Signa ture Studio, a fll-service studio that provides complete pho. tography serviees for families, portraits children, high-school, seniors, and weddings. In addition to the acclaim they have received for their images, Rick and Deborah are also popular photography instructors who tour nationally, presenting, ‘workshops to standing-room-only audiences (for more on this, visit wow ferrophotographyschool.com). Rick and Deb- ‘orah have also authored numerous books, including Wedding Photography: Creative Techniques for Lighting, Posing, and Marketing and Artisie Techniques with Adobe Photoshop and Cora! Painter, both from Amherst Media, Jeff and Kathleen Hawkins (www jeffhawkins.com). For the past twenty years, Jeff and Kathleen Hawkins have ‘operated an international award-winning wedding and por trait photography studio in Orlando, Florida. Industry spon; sored, they are both very active in the photography lecture ccireuit and take pride in their impact in the industry and in the community, JeiT holds the Master of Photography, Cer tified Professional Photographer (CPP) and Photographie Ceafisman degrees, Kathleen is also an award-winning pho. rographer and takes pride in the connection she establishes swith her clients. Together, Jeff and Kathleen have authoredrine books on photography, including Profesional Tecbnigues _for Digital Wedsting Phoragraply ftom Amberst Media. Kevin Jairaj (www.kjimages.com). Kevin Jairaj isan in ternational award-winning fashion and wedding photogra- pher based in Dallas, Texas, His colorfl style and fair forthe «dramatic have garnered him worldwide acclaim, His work has ‘been published in countless books and magazines around the lobe and he isan in-demand speaker in the photography dustry. You can get updates and information from Kevin at ‘www:thekjblog.com, Kevin Kubota (www.kubotaimagetools.com). Kevin Kubota is a professional wedding photographer and, with his wile Clare Kubota, owner of Kubota PhotoDesiga. In 2007, American Photo named him one of the top ten wedding pho- tographers in the world, Kevin is the founder of Kubora ImageTools.com—an award-winning company he created to produce taining DVDs, album-creation software, and Pho- toshop action sets—and a popular speaker at major photo- graphic conventions. He is also the author of Digital ‘Photography Boot Camp (from Amherst Media), a book based (on his popular workshop series Huy Nguyen (www.fwworkshop.com). Huy Neu creative vision and photographie skills were shaped by years of experience as a staff photojouralist at major newspapers including the Chicago Tribune (1993-1994), the Virginian Pilot (1995-1998) and the Dallas Morning News (1998- 2004). Now, he is focused on rocking the wedding world with innovative projects and new ideas. He isthe founder of the Foundation Workshop (wwwaivworkshop.com), the Foundation Workshop Forum (wwwfivforum com), and teaches the Ying Yang Workshop (wwwyinyangworkshop com). In 2005, Huy was recognized as the Weddling, Photo- journalists Association’s (WPJA) Photographer of the Year Srinu and Amy Regeti (www.regetisphotography com). The Regetis are internationally recognized for their skill in telling stories through photography. Asa talented hus- band and wie team, they are also well known in the photog- ational speakers, ‘Their images have raphy industey as my heen featured in such magazines as Grace Ormonde, Es gaged!, and Virginia Bride, as well as on ABC's Nighiline, The Regetis operate a fall-service studio located in the quaint historic town of Warrenton, Virginia, in the rolling hills ov side of Washington, DC. Dawn Shields (www.dawnshields.com). Dawn Shields is an award-winning professional photographer and studio owner who has been featured in Ravefinder magazine and PDN, She is the owner/publisher of Metropolitan Bride mag, azine and the Metropolitan Bride wedding shows—as well as popular educator featured as a platform speaker at the na- tional WPPT convention in 2010. She is proud to be among the prestigious photographers on Grace Ormonde’s Wedding Siyde Platinum List Jeff Smith (www.jeffsmithphoto.com). Jeff Smith is an award-winning photographer who owns and operates vo studios in Central California and is well recognized as a speaker on lighting and senior photography. He is the author of many books, including Corrective Lighting, Posing, and Retouching for Digital Phitegraphers and Jeff Smith's Lighting for Outdoor & Location Portrait Pbotogruply (both from “Amherst Media), and Senior Cousracts (self-published) Cherie Steinberg Cote (www.cheriefoto.com). Cherie Steinberg Cote began her photography career as a photojour nalist at the Toronto Sum, where she had the distinction of boeing the first female freelance photographer. She currently lives in Los Angeles and has been published in Grace Or- mond, Las Angeles Magasine, and Town & Country. She is also a Getty Image stock photographer and an acclaimed in structor who has presented seminars to professional photog. raphers from around the country Damon Tucci (www.damontucci.com). Damon Tucci hholds a degree in filn-making from lovida State University anu worked for Disney Photographie Services, shooting at least 250 weddings a year, before opening his own studio, Daman has now photographed nearly 4000 weddings, and seeks to hone his methods every time. An award-winning photographer who has been featured in numerous bridal and photography magazines, Damon is an eager pioncer in wed- dling photography techniques who is alvays willing to share ‘hs insights with his fellow professionals. He is the author of Seep-Step Wedding Phwtagraply from Amberst Media Riccis Valladares (www-riccisvalladares.com). Ricis ‘Vallidares is fine-art and documentary wedding photogs pher whose work is regularly commissioned by clients across the world, Hs werk has garnered honors in WPPT competi- sions and i regularly fanured in top industry and bridal pub- Tications, such as Rangefinder, Inside Weddings, Martha Stewart Weddings, and ‘ke Knot—and even on television shows, such as WE"s Plarinum Weddings Mare Weisberg (www.mwphoto.net). Mare Weisberg holds a degre in fine art and photography from U ao attended the School of Visual Arts in New York City. His stuio in Newport Beal, California, specializes in wedding, por tnt, and commercial photography but also photograph dito rial and fashion work on a regular basis, Marc’s images have ‘eared more than a dozen national and international awaeds and have beea featured in numceous magazines, including Riviera, as Angeles Confidential, The Knot, Ceremony, and Rangefinder Jeffrey and Julia Woods (www.portraitlfe.com). Jef frey and Julia Woods are award-winning wedding and ports photographers who work asa team. They operate a succesfl Irvine and 15,wedding and portrait studio specializing in highly personal- photographers, which they run out of their studio in Wash- s that reflect the unique tastes and experiences of ington, Illinois. They were awarded WPPL’s Best Wedding ceach client. Their elegant portraits have been featured in Album of the Year for 2002 and 2003, cight Fuji Masterpiece Rangefinder magwoine and in numerous photography books. Awards, six Kodak Gallery Awards, and wo Kodak Gallery Ebte In addition, their acclimed marketing strategies have become Awards. the basis fora successful educational program for professional ized im Bibliographical References 1, Bell, Marcus. Master's Gut to Wedding Photagraphy: Capturing Unforgettable Moments and Lasting Impresions (Amherst Media, 2007); page 5 2. Ferro, Rick. Wedding Photagraply: Creative Techniques for Lighting, Posing, and Marketing, Third Edition (Ambeest Media, 2005); page 48. Michelle, “A Date for'Thrve with Riovis Valladares” (Rangefinder, April 2008) ih. Posing for Porovaie Photogonply: A Head-to-Toc Gide Amherst Media, 2004); page 41 5. Bell, Marcus. Master's Guide co Wedding Photagrapin: Capeuving Unforgetinble Moments and Lasting Lmpresions (Amherst Media, 2007); page 78. 6, Perkins, Michelle. “A Date for Three with Riccis Valladares” (Rangcfinder; April, 2008), 7. Box, Doug, Doug Bax Guide to Posing for Portrait Photegraphers (Amherst Media, 2009); page 24 8, Dort, Tracy: Advanced Wedding Photojournalism: Tediques far Profesional Digital Photagraphers Amherst Media, 2010); page 27. 9. Perkins, Michelle. Profesional Portrait Posing: Techniques and Images from Master Photegraphers (Amherst Media, 2007); page 10. 10. Ferro, Rick. Wedding Photography: Creative Tedbniques for Lighting, Posing, and Marketing, Third Edition (Amherst Media, 2005)5 page 46. 11. Perkins, Michelle. “Dawn Shields: Love in the Heartland” (Rangefinder; February 2009). 12. Perkins, Michelle. Profisional Porerais Posing: Techniques and Images fron Master Photagraphers (Amherst Media, 2007); page 111 13, Ferro, Rick. Wedding Photography: Creative Techniques for Lighting, Posing, and Marketing, Third Eatition (Amherst Media, 2005); page 64: 14. Tucci, Damon. Step-by-Step Wedding Plomagraphy: Techniques for Proftsional Photographers (Amherst Media, 2009); page 98, 15. Kubota, Kevin. Digital Pborogvaphy Boot Camp: A Step-by-Step Guide fir Profesional Wedding and Parerait Photographers, Second Edivion (Amlerst Media, 2009); page 11, 16. Havikins, Kathleen. The Kathleen Hawkins Guide to Sales and Marketing for Profesional Pbotagraphers (Amherst Media, 2008); page 62. 17. Ferro, Rick. Wedding Photography: Creative Techniques for Lighting, Posing, and Marketing, Third Edition (Amherst Media, 2005); page 46. 18, Perkins, Michelle. “Huy Nguyen: Defying the Norm” (Rangefinder; March, 2007), 14, Tucci, Damon. Step-by-Step Wedding Photography: Technigues for Profesional Pbotonraphers (Amherst Media, 2009); pages 32-33, 20. Ferro, Rick. Wedding Photagraply: Creative Techniques for Lighting, Posing, and Marketing, Third Etirion (Amherst Media, 2005); page 46. 21. Perkins, Michelle. “A Date for Three with Riccis Valladares” (Rangefinder; April, 2008), 22. Chen, Mark. Crantive Wedding Aloum Design with Adobe Photoshog® (Amherst Media, 2010); page 20. 23. Mues, Patricia. “Kevin Jairaj: Texas Tradition” ( Rangefinder, March 2008). 24, Ball, Marcus. daster’s Guide 10 Wedding Phoingraplye Capruving Unforgettable Moments and Lasting Impresions (Amherst Media, 2007); page 53. 28, Perkins, Michelle. Profesional Portrait Lighting: Techniques and Images from Master Photagraphers (Amherst Media, 2006); page 65. 26, Box, Doug. Dow Box's Guide to Posing for Portrait Photographers (Amherst Media, 2008); page 8. 27, Jel Smith, Corrective Lighting, Poving, and Retouching for Digital Portrait Photographers, Second Edition (Amberst Media, 2005); page 38. 28, Perkins, Michelle. “Dawn Shields: Love in the Heartland” (Rangefinder; February 2009). 126OTHER BOOKS FROM Amherst Media: WEDDING PHOTOGRAPHY CREATIVE TEANIQUES FOR LIGHTING, FOSING, AND MARKETING. 3rd Ed ick Ferro (Crcaie tech que orig al posing weet dig porats thar wal et your work apart she corapeidon. Cover cy phase of we honogapy. $3.95 8831, 128, 128 color Photen de, aden a. 1689. 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TO DESIGN BETTER POSES AND SPICE UP YOUR BRIDAL PORTRAITS es Ce ee eee Cee Pretec ces eee ee a cette ered cer Se eee eee ee eee ke eee eee Sores adapt it ac needed tosuit your tastes, Looking to freshen up SE cee Seg Amherst Media 49 ee ee eee eee ne Pete sae eee ees Cees ee of it) with one of your brides. It can be difficult to remain eee ee eet eee en en Pee eae ee tee ec eee tee you'll find a plethora of images designed to provide just that, Co eee ree reer eatery re tere rer Toa) rey pene ehrarne ee eee ee ees ent rst od rn eet eee es Pecan tard Keatbeen Moki Cael pases al eae cas od toy Pe Peano are ed