Zeltsman, Joel - The Zeltsman Approach To Traditional Classic Portraiture PDF

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The Zeltsman Approach to Traditional Classic Portraiture
16 CHAPTERS
CHAPTER 1.....Who is Joe Zeltsman. Opening comments. Display of Zeltsman portraiture.
CHAPTER 2.....The when and how the Zeltsman approach was introduced.
CHAPTER 3.....Facial evaluation and planning prior to posing.
CHAPTER 4.....Posing Men - Part One
CHAPTER 5.....Posing Men - Part Two
CHAPTER 6.....Posing Women - Part One
CHAPTER 7.....Posing Women - Part Two
CHAPTER 8.....Classic Portraiture of Family Groups
CHAPTER 9.....Lenses and Camera Positions in Portraiture
CHAPTER 10.....Posing Babies and Young Children
CHAPTER 11.....Posing Couples
CHAPTER 12.....Zeltsman Bounce Light System -Fill Lighting
CHAPTER 13.....Portrait Lighting - Part One
CHAPTER 14.....Portrait Lighting - Part Two
CHAPTER 15.....Traditional Portrait of the Bride
CHAPTER 16.....Understanding and using the Language of Photography
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Chapter 1
Who is Joe Zeltsman? Joseph (Joe) Zeltsman, M.Photog., Cr., FASP, DFP, initially introduced the
technical aspects of his approach to portraiture at PPA and Canadian National Conventions, and
several State Conventions. His approach generated considerable interest, and he was invited to teach it
at the PPA School in Winona, and State sponsored schools in North Carolina, New Hampshire,
Pennsylvania, New York , Texas, and the West Coast School at Brooks Institute in Santa Barbara.
Those full enrollment five-day classes were scheduled throughout the 1970’s and 1980’s.
In addition to those organizations sponsored classes, he also taught his approach to traditional classic
portraiture to the many professional portrait photographers who attended his private limited
enrollment five day classes, held throughout USA, Canada, Australia, and Puerto Rico. Those classes
were limited to 15 photographers, and were usually held in someone’s studio.
Joe retired at age 80. He is a LIFE MEMBER of Professional Photographers of America, American
Society of Photographers, Professional Photographers Association of New Jersey, and
Cameracraftsmen of America, Inc.. Shortly after his 90th birthday, he purchased a computer, scanner,
printer, etc., and after many endless hours learning to use it, compiled everything he has been teaching
for so many years into this detailed instructional manual, to be posted on this Website as his legacy to
his profession.
Joe’s introductory comments: I gravitated toward portrait photography because I like people and
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enjoy working with them. The most important task confronting the portrait photographer is to be able
to capture a variety of interesting facial expressions reflecting the subject’s personality.
Meaningful portraiture is mainly the result of communication between the photographer and the
subject. Technical proficiency serves merely as a preparation of the foundation of the portrait by
establishing the pose, lighting, and camera position. Technique may therefore be considered as the
language for expressing the substance of the photographer’s statement eloquently.
Note: I urge anyone interested in this concept, to concentrate first on mastering the various technical
aspects offered throughout the following Chapters. Soon, from habit, you will perform the purely
technical tasks automatically. When you reach that level, your mind will remain free to concentrate on
communicating with your subjects, and you will begin to create truly effective portraiture.
Structured Portraiture

People may be photographed different ways to serve different functions, and structured
portraiture roughly divides into five categories.
PUBLICITY: The principal aim of a publicity portrait is to create an eye-catching image with impact,
to attract and hold a viewer’s attention....without necessarily reflecting the subject’s actual likeness
and personality. This style of portraiture is produced mainly for publicity, promotions, and posters in
the field of performing arts.

GLAMOUR: The glamour approach to portraiture allows us to alter the subject’s natural appearance,
by utilizing camera perspective and lighting to achieve an aura of glamour and sophistication. The
primary purpose of a glamour portrait is to create an interesting picture, rather than to reflect the
subject’s true likeness.
DOCUMENTARY: The documentary category fulfills a client’s need for a portrait in connection with
a social or other significant event. It is often impossible to achieve aesthetically pleasing results in this
style of portraiture because of clothing, props, and the locale of the function which must be included
in the picture. However, the documentary value of these portraits to the client, make the compromise
acceptable. These portraits are often done for the news media or some other public use.
ENVIRONMENTAL: This approach to portraiture offers a means for creating an interesting and
informative portrayal of a person. By including some object or locale within the composition pertinent
to the subject’s occupation or hobby, the photographer provides the viewer with relevant information
about that person. But, quite often, when the subject is engaged in an activity in that portrayal, the
result may again fail to reflect that person’s actual likeness.
CLASSIC: The remaining category, the pure traditional classic approach to portraiture, is indeed,
aimed specifically toward a portrayal showing the subject’s face from an attractive angle, supported
by an effectively arranged body pose. The total effect, as the viewer sees it, should appear natural,
comfortable looking, and unaffected. Regardless of how much of the subject’s body is showing, the
clothing, props, background, or any other item included in the picture, must remain subdued. Only the
face and expression should stand out as the dominant point of interest to a beholder.
The following images are examples of Zeltsman portraits of young children, babies, men, women,
small groups and family groups. Singly or together. In close-up, three quarter length and full length
poses. After viewing these examples of pure traditional classic portraiture, please read the comments
at the end of this display.








As you examine and study these images, you’ll become aware that your visual response in viewing
these portraits follows a specific planned pattern: As you glance at any one of these portraits,
whether a close-up, three-quarter length, or full length pose, your attention is immediately
drawn to the faces and expressions, that is, of course, the primary point of interest in classic
portraiture.

Note also how this emphasis on the faces is preserved by an absence of any distracting elements
within the image that may compete for attention, that is achieved by coordinating the tonal values of
clothing, background, props, etc.... And finally, note the elegant simplicity of the poses. As you see,
everyone in all my portraits, looks comfortable, relaxed, and not as if they were manipulated
into a pose.
Important comment: I know that many photographers work on location, outdoors and indoors, and
may feel that because my work was done within a studio environment, the technical aspects of my
approach do not apply to their work. That, of course, is not so!!! If you do portraits of people, good
posing and effective lighting remain the important ingredients no matter where you work. And
handling and communicating with your subjects is the same. And understanding composition is also
the same. Thus, the effects you see reflecting in my portraits, are just as effective regardless where you
work.
Index

Chapter 2 The when and how the Zeltsman approach was introduced
Some 50 years ago, I received a call from a photographer friend from another town. He asked me if
I’d like to attend a five-day class with Van Moore, a well-known portrait photographer.....especially
renowned for his bridal portraiture. I said that I would.....and I did.
That is where my story begins. Van Moore opened the session by showing us a small four-inch high
figurine of the famous head and shoulders pose of Aphrodite. He told us he photographed it from five
different angles, and used slides to show us the results. We saw five different, yet perfectly beautiful
poses of Aphrodite, achieved simply by a change of camera angle, and readjustment of the lighting.
The bride was ready, and Van arranged her in a graceful full length standing pose. He then asked us to

mentally crop and look only at the head and shoulders close-up area of the pose, and there was the
Aphrodite pose. Compare with the second from the left photo of the figurine) He then pointed out how
the lines of the Aphrodite composition of the head and shoulders pose continue right on reflecting the
graceful lines of the S curve throughout the entire pose of the bride. Thus this one pose may be
photographed as a head and shoulders close up, a three quarter pose, or in full length.
As I watched Van pose the bride, I became aware that every pose he demonstrated, seated or standing,
reflected the graceful elegance of the S curve, and I realized that each pose Van arranged, could be
photographed effectively from 3 o 4 different angles, without changing the pose, by merely changing
the camera perspective, and readjusting the lighting.....like photographing the figurine.
"Thank you, Van Moore"
The wonderful session with Van Moore ended. I got back to my studio and looked at my work on the
walls. I looked at all of the portraits of women, not just brides, discovered there were several that I
particularly liked....and realized that they were in the Aphrodite pose. Interestingly, I also realized that
I came up with these poses purely by trial and error, and not as a result of knowing how to do it. But
not anymore. Van Moore is responsible for triggering my thoughts toward rethinking and changing
my approach to posing.
My New Approach
What was it that jolted my brain, as I watched Van create all those beautiful poses? First, the
realization that every full length pose he arranged, standing or seated, reflected the graceful lines of
the "S" curve (as Aphrodite).
Then, looking at the comfortably natural way the body position related to the head position in every
pose Van demonstrated, I realized something even more important. I saw in my mind 3 or 4 equally
effective poses of that arrangement, by stepping over in front of one or another facial view, and
looking at the pose from that perspective.


Example: The five lovely portraits above of the young woman, are the result of photographing the
same pose from five different camera perspectives, without changing the pose in any way, as was done
with the Aphrodite figurine.
I came away from that session with Van Moore, with what was to me then, two interesting and
important discoveries. One: Posing people in a natural classic style follows a specific pattern. (This
will be detailed in a later Chapter). Two: That a pose arranged reflecting a specific composition, can
be photographed showing different angles of the face, and in a variety of croppings. (Detailed in later
Chapters)
That was at the time (1950’s) when I decided to concentrate all my efforts on Portrait Photography.
And, of course, my approach to the technical aspects of portraiture then, was the same as other
photographers.
But the session with Van Moore changed that. I began thinking of other things that should be changed,
and that started me on the way to developing what is now "My Approach to traditional Classic
Portraiture.
The first important change needed was based on the following: FACT: The dominant point of interest
in classic portraiture must be the subject’s face and expression. And because the subject’s body
naturally remains in a position that is related to the face, why then do photographers begin a
portrait session by posing the subject’s body first, and then have to accept whatever view of the
face is available from that angle??? Why not begin by deciding first which view of the face to
photograph, and then arranging the body pose to support that view.???

And so, indeed, the first significantly important change in my approach to portraiture was to begin a
portrait session not by posing the subject, but to examine and evaluate the subject’s facial features, and
decide which facial view, or views, to photograph. Then arranging the necessary pose to support the
chosen facial angle. The end result is an effectively planned image, thus eliminating the probing trial
and error method of posing.
What about posing the man? Still 50 years ago, having developed my technique for posing the
woman, based on the Aphrodite composition, I began to wonder, perhaps there was also some
particular common composition for posing the male. I began looking at many portraits of men by top
portrait photographers. I searched all kinds of publications. Particularly, I watched print competitions,
and I discovered a common denominator in all the images I liked. Compositionally, they all seemed to
fit into a C shape, rather than the S curve that was the feminine pose.
I worked and practiced with a man until I was able to arrange the full range of poses, head and
shoulders, three-quarter length and full length, seated or standing, all reflecting the C shape
composition, and named it the Masculine Composition.


See Chapter 3 for detailed coverage of why and how of facial evaluation. And Chapter 4, 5, 6,
and 7, to understand the two posing compositions I identify as Masculine and Feminine. There is
no special significance to the terms "Masculine or Feminine" composition, other than for the purpose
of identification.
NOTE: All of my portraits represent a carefully planned image, that begins with a facial evaluation

and planning session prior to posing, and then every subject is posed in either a masculine, or feminine
composition. You’ll find this fully detailed and illustrated in the Chapters on Posing Men, and Posing
Women.
Index

Chapter 3 Facial evaluation and planning, prior to posing.
Introductory Comments: At the start of my career as a portrait photographer many years ago, I
began every portrait session, logically, by arranging the subject in what I felt to be an effective pose.
And after establishing proper camera position, and desired lighting, photographed the subject,
hopefully with a pleasant and interesting facial expression.
But, after using that "posing first" approach at the start of a portrait session for some time, I became
aware there seemed to be something wrong with that approach, and I finally realized what it was.
People are photographed in different ways for a variety of reasons. It is important then, that the subject
be arranged in a pose relevant to the planned function of that portrait, and the "posing first" approach
is. indeed, best to follow then.
Exception; CLASSIC PORTRAITURE. Consider the following: When a subject is arranged in a

pose appropriately relevant to the style and function of that portrait, the pose is the primary point of
interest, and the view of the face is whatever facial angle is available while the subject is holding that
pose. To show other views of the face requires changing that pose.
I, at that time, was pursuing a career in traditional Classic Portraiture where faces and expressions are
the dominant point of interest of a portrait, supported by a relevant pose to complete the composition,
and the "posing first" approach made no sense to me. I then reversed the sequence of my approach to
beginning a portrait session, and followed it ever since.
The new approach: Because the essence of Classic Portraiture is Faces and Expressions, I decided
the first most important task is to decide which of the subject’s facial view, or views to photograph.
And after that decision is made, arrange the subject’s figure appropriately posed to support that facial
view. Classic Portraiture? All sessions begin with a facial evaluation period. Detailed instructions
about how to do a facial evaluation follow now.
Benefits of beginning a Portrait Session with a Facial Evaluation
There are two primary reasons for evaluating the subject’s facial features at the start of a portrait
session. First, we have an opportunity to decide which facial view we prefer to photograph. Secondly,
the view we decide to feature indicates how the subject’s body needs to be arranged to form a
compositionally effective foundation for that facial view.
Aside from these two principal benefits, there are other less obvious ones. For example, most people
usually feel self conscious and ill at ease before a camera, especially within an environment of a

studio. Being surrounded by elaborate lighting equipment may also make people feel uncomfortable.
And being posed immediately at the start of a session does nothing to ease their tensions.
But when a portrait session begins with a facial evaluation, the problems that tend to make people feel
ill at ease simply do not occur. Equipment is off to the side. The subject is not posed in any way, but
while continuing a pleasant relaxed conversation, is invited casually to sit down on a stool, and the
Evaluation Session (that will be detailed a bit later in the Chapter) begins.
The Five Facial Views
Aside from achieving an interesting portrayal of someone, the real objective of classic portraiture is to
capture and document a subject’s recognizable likeness. To understand why I use the term
"recognizable" likeness, consider the following. You may certainly photograph a person from different
angles, showing a variety of facial views. And, of course, each of those facial views does indeed
represent that person’s likeness as seen from that particular angle.
But, in fact, there are only five specific facial views that actually reflect a subject’s likeness
accurately....thus unmistakably identifying that person in the portrait. And those five specific
facial views, as shown in the following photos of the young lady, also apply to facial angles of
men and children. I refer to them as the "five recognizable facial views". See the following
illustrations.
The Profile

The profile must show its precise contour. The slightest turn of the head to either side, destroys the
delicate lines of a profile, and therefore its recognizable likeness.
The two-thirds side View
The proper identification of a side view of the face, is more accurately identified as the two-thirds

facial view, because actually, it shows only two of the three planes of the face.....the front and one
side. See photos! The head is turned to the side until only the precise front plane of the face is
showing accurately, and one side plane.
Front facial view
A front view of the face must be balanced from ear to ear, as shown here in this photo. Any slight
change from this exact front facial angle, changes the shape and form of the facial features, and is no
longer an accurate recognizable likeness of the front facial angle.
Important: To ensure that our completed poses, supporting either of the five recognizable facial
views are accurately recorded, we must remain at the camera when making exposures.
Lighting for a Facial Evaluation Session
In a camera room, good overall illumination is essential for conducting facial evaluations, as well as
for posing. Don’t depend on your portrait lighting equipment to provide that illumination. The lighting
supplied by these units is too directional. It creates highlight and shadow patterns on a subject’s face
that prevents a proper evaluation.
The general overall camera room illumination should, therefore, be as shadowless as possible, and
fairly bright. I have found that fluorescent lighting is best for that purpose, because it provides lots of
good soft light at minimal cost.

The evaluation and planning session to decide how to photograph the subject should take no longer
than about 10 minutes or so. Then, as you turn to posing, you’ll also find it most convenient to pose
the subject in a well-lighted room. Finally, when the pose is arranged, you switch off the overall room
illumination, turn on the lighting equipment and proceed lighting the pose.
How to proceed
When I am ready to begin a portrait session, my first concern is to keep the subject from becoming
self conscious, which is almost always the case when he/she is about to be photographed. But, as I
explained earlier, whatever usually causes people to feel self conscious does not occur during this
session, because talking and smiling pleasantly, I casually invite him/her to be seated on the stool in
the posing area, facing the camera.
And, standing behind the lowered camera, I ask the subject to sit up straight, to bring the body to its
fullest height, and maintain that posture as we work. All done with lots of smiling and communicating
with the subject as we proceed.
The Why and How Approach to Facial Evaluation
Obviously, the objective of a facial evaluation is to decide which facial view, or views, will portray
the subject most effectively. To arrive at such a judgment we must be able to study a subject’s face
from various angles and make comparisons.
Important note: Keeping the subject seated still while you walk around silently studying his/her
face without comment, will definitely cause the subject to feel self conscious. That’s not the way
to do it!
The right approach: The subject is seated on the stool with good posture, facing the camera that is
lowered, to allow you an unobstructed view of the subject while you stand behind the camera.
(Always smiling and communicating) direct him/her to turn the head only, first to one side, then to the
other, several times, allowing you to evaluate both two-thirds side facial views, and the front view of
the face, back and forth for comparisons, while the subject remains sitting comfortably in the same
position.
That is the most crucial time for communicating with the subject. At your very first request for a turn
of the head, he/she realizes what you are doing, and you must begin to do it together. Share what you
see. In order for you to see changes of expressions, smiles, etc.., the subject has to be involved. .
Consider the psychological effect of conducting a facial evaluation in this manner. Indeed, it’s not
likely he/she will feel self conscious while you work together as a team toward creating an effective
portrait.
Earlier, I identified five precise views of a face that assure an accurate portrayal of a subject’s

recognizable likeness. With that in mind, there’s obviously no reason to look at any other views of the
subject’s face. Actually, during this facial evaluation session, we look only at the front facial view,
and at each of the two-thirds side facial views, because only these three angles of the face reflect a
subject‘s absolutely recognizable likeness..
Now what about the two other important facial views, the profiles? Actually, the profiles, aside from
offering aesthetically pleasing studies, do not truly represent a person’s recognizable likeness
sufficiently. Thus, our primary concentration during a facial evaluation is on the front view and the
two side views of the face. And because the subject could not possibly turn the head to either profile
without moving the body with each turn of the head, at some point during the evaluating period, you
may step off to either side of the subject for a moment, to glance at each profile, and decide to include
an interesting study of a profile, in addition to the other views of the face you decide to photograph.
Lets examine how you may use what you see during a facial evaluation when planning how to
photograph the subject. The reason for evaluating facial features is to allow you to select a particular
facial view, or views, that will reflect a meaningful portrayal of the subject. When you begin, the
immediate purpose of the analysis is to discover any un-attractive features and imperfections in the
subject’s face from that angle, and consider how to deal with it. Your subject is surely aware of that
little problem, and will greatly appreciate knowing that you‘ve spotted it, and what you intend to do
about it.
The facial analysis is, therefore, a planning session, and the following examples will give you an idea
how your choice of a facial view may be influenced by what you see during that period.
The Actual Planning
Important Notes: The evaluating and planning session I am introducing in this Chapter, is the
important starting point of my approach to Classic Portraiture, as I explained in the beginning
paragraphs of this Chapter. (You might review the fifth paragraph down from the top)
Now, when you are ready to begin a portrait session, you should be in pleasant relaxed conversation
with the subject, as you invite him/her to sit down facing the camera, as I described earlier, and the
session begins. Do not just do things, but communicate and let the subject understand what you are
doing.
And now, the most important and necessary communication is essential when viewing and comparing
a subject’s precise facial views. Here is why! Look at any of the three precise recognizable facial
views of a Man or Woman. Serious expression first: Note the shape of the face, and the facial features.
Do you know what will happen when you ask the subject to smile??? Everything will change! As it
will change some more with a change of expression. This provides you unlimited choices for
comparison in evaluating any one subject. You can understand now, my pointing our earlier, that we
open the session with a subject sitting on a stool facing front toward the camera, and can turn the head

in either direction to show the two-thirds side views of the face, any number of times, while remaining
comfortably seated in the same position on the stool.
A look now at how you use what you may see during a facial evaluation when planning a portrait of a
subject. The actual reason for evaluating facial features is to enable you to select a particular facial
view or views, that will reflect a meaningful portrayal of the subject. When you begin, the real
immediate purpose of the analysis is to discover any negative or distracting features in a subject’s face
from that angle. When you do, you consider how to deal with them. The facial analysis is, therefore, a
planning session, and the following examples will give you an idea how your choice of a facial view
may be influenced by what you see.
Facial Features: You are looking at a subject’s exact front view of the face. You study the shape of
the face, and the facial features, and tell the subject you’d like to see how a smile will change
everything. And it surely does. Do the same with the two-thirds side views of the face, some smiling,
some laughing, back and forth, some serious, making comparisons, sharing what’s interesting with the
subject. 7 or 8 minutes, and you’ve decided which facial angle or angles you will photograph. And
you’ll know how to arrange the proper poses to support your chosen facial views. (Chapters 4, 5, 6, &
7 for posing)
Hair Style: You must also consider to what extent a subject’s hair style may influence your choice of
facial view. Hair parted on one side may be a factor, because it can alter a subject’s appearance when
viewed from different angles. The differences will guide you toward choosing the view that best
represents a most attractive likeness of the subject.
Eyes: Occasionally, looking at a subject’s full front view of the face, you will notice that one eye
appears to be smaller than the other. How to handle this has been the subject of many discussions for
years. Everyone, of course, agrees on using a two-thirds facial view to modify the appearance of that
discrepancy.
Some suggest that you should turn the smaller eye away from the camera. Others say just the opposite.
However, you are now doing a facial evaluation, and must, and will, rely on your own opinion and
judgment. When looking at a subject’s precise front facial view, you become aware of a slight size
difference between that subject’s eyes, comment on it, (The subject is undoubtedly fully aware of
this). And smiling pleasantly, you say to the subject "a smile changes the appearance of facial features,
so, how about giving me a smile, and see what happens"? When the subject smiles, you may see a
magical change. But whatever you see, go through the same procedure with each of the two-thirds
views of the face. When you do that, you’ll be surprised to discover no problem with the eyes with
some of the expressions.
Do you care at this point about rules and what’s right or what’s wrong? No! You are looking at
several options. The right choice of facial view or views and expressions will be right there for
you to make your decision. No rules. Your own considered opinion will be the right thing to do.
Respect your own judgment, and you’re on your way!

Teeth: Occasionally, when you are studying a subject’s side view of the face, you may detect a tooth
missing when the subject smiles. Yet, when you check the opposite side view, the teeth look good.
This provides you with a clear choice for planning ahead. You’ll photograph the subject in a serious
expression from the side where the tooth is missing, and smiling from the opposite side. This is a
situation you share with a subject, who will appreciate you sensitivity and be ready with a smile when
you ask for it.
Other information: You will also gain some important insights about the subject each time you ask
for a smile, because he/she is generally quite relaxed when you work together in this manner. A
subject‘s reaction to your request for a smile should tell you quite a bit about the subject‘s personality..
For example, does he/she smile easily? Or, will a serious expression be more natural? Your
impression of the subject at this time, can greatly influence not only what facial view you photograph,
but also what expressions you’ll want to capture. Some people show quite a bit of their gums when
smiling broadly. While this may be perfectly natural, it’s not particularly attractive in a portrait. When
you are confronted with this situation, you should plan to photograph that person with a slight smile,
or no smile. Many other situations will occur as you practice this procedure. In time, you’ll gain the
experience to cope with all of them.
Closing comments: Although my detailed explanation of the complexities of this procedure is quite
long, I remind you that the actual time of this session should not exceed 10 minutes or so. No doubt
this evaluation session will become highly productive after you learn to work with it. At the start,
however, you must realize your mind will be too preoccupied with directing and communicating with
the subject to allow you to digest what you see. But when you get used to handle that part of the
procedure without thinking about it, your mind will become free to concentrate on spotting the good
and the bad features of a subject’s face.
Index

Chapter 4 Posing Men - Part One
Introductory comments about my approach to Posing: I don’t begin a portrait sitting by posing the
client! That, and the reason for it, is fully explained in the first five paragraphs in Chapter 3. My
posing session therefore begins, after I’ve decided which of the subject’s views of the face I decide to
feature, and I arrange the subject’s body into whatever pose that will effectively support the facial
view being photographed. And that is what the four Chapters on Posing Men and Women will show
you how to do.
A reminder: This is Classic Portraiture posing, not posing by the "trial and error" method, or
experimenting The essence of my approach to posing is that all poses are arranged into either one of
TWO, distinctly different compositions. One I identify as a Masculine Composition, and the other as
a Feminine Composition. No particular significance to those terms, other than to identify the
structural difference between them.
Note:Either composition may be used effectively to pose women and small children. But men are
always posed in a Masculine Composition. To see the actual results of this approach to posing, look
at the display of my portraits in Chapter 1, of men, women, children, babies, couples, in close-ups,
three-quarter, and full length poses, singly or in groupings. Every person is posed in either a
Masculine or Feminine composition. Everyone looks comfortable and natural, and certainly not as if
they were manipulated into a pose. On to posing now!
Full Length Standing Masculine Pose

The pose of the full length standing figure in the photo on left (M-1) is supporting the two-thirds view
of the subject’s face. Looking at this pose raises an important question. If it is important to show the
subject in a full length pose, why turn his body to the side in a manner shown here?
The purpose of a full length pose is to show a subject’s figure. Yet, the turn to the side shown in this
pose totally obscures the figure. The only salvageable portion of this pose is the subject’s face in a
very close cropping. The absence of his far shoulder leaves the face floating without support. My
reason for showing this pose is that I see it used very often in formal wedding groupings. Now, I will
show you how to arrange a full length standing pose in a Masculine composition.
First, about this pose: The subject’s body never faces the camera squarely, but is always turned
slightly to the right or to the left, depending on which facial view is being photographed, and always
showing the far shoulder and arm. (as in photo M-2).We’ll arrange that pose now in a step by step
progression. Starting point: The subject is standing facing the camera squarely, feet side by side
pointing front. To show the right two-thirds view of his face means the body must turn slightly to his
left. He is then directed to keep his right foot as is, but to move his left foot back a bit, slightly behind
the right foot, and in a bit of a turn to his left, as illustrated in the photo M-2.
Step two: Now, he is directed to drop his weight on to his back foot, with a slight bend of his right
knee. See photo M-2 His body is now turned exactly to where it needs to be, usually just the right
amount. Should you feel however at this time, that you’d like to adjust that turn somewhat, all you do
is ask the subject to turn his back foot just a bit to one side or the other, thus adjusting the body turn
one way or another You’ve just learned that arranging of standing poses always begins by a particular
placement of the subject’s feet on the floor.

Step three: What to do about the straight lines of the arms that are just hanging down? Photo M- 3
illustrates how using the hands in some natural way to bring the elbows into a slight bend, changes the
severe straight lines of the arms into flowing diagonals, and softens the corners of the shoulders.
Final steps: To ascertain that his exact two-thirds facial view is showing. And that the head is
positioned precisely perpendicular to the line of the shoulders. The end result is an example of a
classic full length standing Masculine Pose, that takes but a few minutes to arrange.
You must surely be aware, as you look at this pose in photo M-3, that there are three great poses there.
A close up head and shoulders. A three quarter length, cropped below the hands, and a full length.
Each one is, of course, showing the subject’s two-thirds facial view. Now, without any change in the
pose, a slight turn of the subject’s head to the front to show the exact front facial view, and you have
the pose as shown in photo M-4. Again, the same three cropping options apply. That’s six choices
provided by one single arrangement.

This brings me to the subject of how you decide which way to turn the body when you begin
arranging a pose. That decision can only be made after a facial evaluation. Your choice of either left or
right two-thirds view of the face as your first arrangement, will indicate the turn of the body as you
begin arranging the pose. (And of course, either turn of the body will support a front view of the face)
Photo M-5 shows exactly the same pose, reversed to support the subject’s left two-thirds facial view.
The same Masculine Composition, arranged by the same placement of the feet, but in a reversed
position, with the left foot in front now. And photo M- 6 is the same pose with head turned to show
the front facial view. The same cropping options apply to each of the four poses M-3, M-4, M-5, M-6.
That, by my count, offers a choice of 12 different portraits of that one Classic Masculine arrangement.
Plus a variety of facial expressions???
A quick review: First step is the turn of the body. In a standing pose it is accomplished by the
placement of the subject’s feet. Next step involves shifting the body weight onto the back foot by
bending the front knee. Next step, the bending of the elbows to soften the lines of the arms and
shoulders. Finally, the head is positioned perpendicular to the line of the shoulders.
Full Length Seated Masculine Pose

Note: When seating someone in a chair, man or woman, you absolutely must never place the chair
facing directly front. Always place it turned a bit to the right, or to left, depending on what facial angle
you decided to photograph during a facial evaluation.
As you probably realize now, since the subject’s body in a masculine pose must not be facing directly
front, your placement of the chair will control the body turn in the direction you have planned. But
when you ask a man to be seated, he usually disregards your placement of the chair, and plops down
facing you, with legs apart, body slouched, and shoulders up hiding his neck (as illustrated in Photo M-
7) We proceed now to arrange this full length seated masculine pose, step by step.
1. The posing session begins, by directing the subject to sit properly in the chair the way it is
positioned. That places the body into the needed slight turn to his left, that will properly support either
the full front, or the two-thirds side view of the face.
2. Now, as he is seated properly in the chair, ask him to sit up to his full height and a slight lean of the
body in the direction it is facing. Note how this improved posture changed the appearance of the
clothing, and giving shape and form to the body.
3. Because men normally sit with legs apart, they should be posed that way. But not as in photo M-8,
with crotch area facing directly front toward the camera. Here is how to arrange this pose properly,
still with his legs apart, as in photo M-9. First, when the subject sits in the pre-positioned chair
properly, as shown here, it places the body in a slight turn to his left. That brings his right foot in line
with his face, and his right knee in toward the center to cover the crotch area. His left foot is moved
back slightly behind the front foot, almost like in a standing arrangement.

4. Now the hands resting on his lap are moved back until the elbows bend, to form the diagonal limes
of the arms.
5. Finally, the turn of the head is checked to make sure the desired view of the face is related to the
camera accurately, and the head is exactly perpendicular to the shoulder line. And that is the classic
seated full length pose of a man in a masculine composition.

Photos M-11 and M-12 are exactly the same pose, in reverse, supporting the subject’s left two-thirds
side view of the face, and the front view of the face.
Final comments: In this Chapter, I dealt with posing the full length standing, and the full length
seated Masculine Composition, for arranging family groups, or any other groupings, in traditional full
length classic style. Go to next Chapter 5, Posing Men - Part Two, to see how this one masculine
composition is used in arranging the traditional classic head and shoulders and three-quarter length
poses.
Index

Chapter 5 Posing Men - Part Two
Introduction: In Chapter 4, I introduced my concept of one particular composition arrangement

serving as the core of all poses of men. I named it the Masculine Composition, setting it apart from the
Feminine Composition that will be introduced next, in Chapter 6.
You saw how that masculine composition was used in posing the full length standing and seated
poses. My reason for starting the posing discussion with full length arrangements, is that those two
poses should be of particular interest to wedding photographers who do full length posing, and to
portrait photographers for posing family groups....in the studio or on location.
Now, in this Chapter, I will show you how this one masculine composition is used in arranging the
traditional classic head and shoulders and three-quarter length poses.
1. When you ask the subject to sit on a stool, he will most likely do so in a slouching posture. Begin
by directing him to sit up and bring his body to its fullest height, as shown in photo # 1, and illustrates
how a subject is seated during a facial evaluation and planning session (detailed in Chapter 3). The
decision here is to arrange a pose to show the full front facial view, as well as his right two-thirds view
of the face, and that calls for a turn of the body to his left. Important note: The head is never turned
in opposite direction to the body in a Masculine Composition.
2. The first step, the turn of the body, is shown here in photo # 2. With his body turned to his left, you

have determined that although this pose begins by showing the subject’s front view of the face, you
are also planning to turn his head to his left later, to photograph the right two-thirds view of the face.
For now, we’ll stay with the front view of the face.
3. Keep in mind that this is a head and shoulders pose. Now, in photo # 3 you see an adjustable height
posing table added. While maintaining the same erect posture, he leans his body slightly forward to
rest his hand on the table (adjusted to the proper height), achieving a slight lowering of his left
shoulder. At the same time there is a bending of the elbow to establish the diagonal of the arm. The
result is a classic head and shoulders pose. (Crop it to see it properly composed).

The reason for an adjustable height posing table is to allow to vary its height for placing a hand or
hands at different heights in relation to the face. Look at photo # 4. There are two poses there. One, to
show only his left hand, and another showing both hands. Either pose requires no change in the pose.
The pose in photo # 5 however, does require the table to be raised, to bring his hand up to the face,
without changing the pose.
You don’t have an adjustable table? Use a few books on whatever table you do have to bring the hand
to the required height. Photo # 6 is a three quarter length pose, and needs no table. This pose may also
be cropped as a head and shoulders portrait.
In Chapter 4, I showed how to arrange a variety of effective full length standing and seated poses of a
man, by following a single composition pattern. The first step in arranging a pose in (what I call) the
Masculine Composition is that slight turn of the subject’s body to one side or the other. Full length
poses must show the subject’s well-balanced figure, and that controls the turn of the body. But head
and shoulders arrangements offer considerably more flexibility, as you will see in the following
illustrations.

The principal function of a head and shoulders portrait is to highlight and feature one point of interest,
the man’s face, and there should be no distractions diverting the viewer’s attention from the face.
Look now at photo # 7. The man’s body is turned in a first step of arranging the masculine
composition. But notice how that difference in size between the near and far shoulders draws attention
away from the face. Of course, we can cut into the near shoulder to bring it into balance with the far
shoulder, creating a real close-up of the face. That however, will leave the face hanging without
sufficient support.

Now in photo # 8, the body was turned back a bit to show more of the far shoulder, and we can cut
into the near shoulder just enough to bring it into balance with the far shoulder. Crop it into an
accurate head and shoulders, and you’ll see that your attention remains entirely on the man’s face. All
the lines of the composition lead to it. No distractions.
But there is more. In photo # 9, the subject’s body was turned slightly more, to show even more of his
far shoulder. Now, by cropping the near shoulder to balance with the left shoulder, a more open
cropping may be used to show more of the man’s body, if so desired.
Review of the three important points of information in the above:
1. In head and shoulders portraiture, the turn of the body controls the size of the far shoulder. This, in
turn, controls the cropping of the near shoulder.
2. That allows you to plan exactly the amount of the body in relation to the face.
3. The flexibility of being able to control the visual size of the body may be used very effectively with
heavy set men.
What a difference a tilt of the head can make!
There is a subtle but very important difference between the two images in photos # 10 and # 11. As
you look at them you’ll see that the portrait on the left is somehow not as comfortable looking as the
one on the right. That has nothing at all to do with facial expression. It is caused by the placement of

the head. The composition is exactly right, and is the same in both photos. but in the photo on the
right, the man’s head is perpendicular to his shoulder line, an absolute requisite in a masculine pose.
Three portraits featuring the two-thirds side view of his face. I doubt there is anyone, looking at the
portraits in photos # 12 and # 13 who has not seen that exact pose many times. How do I know? I’ve
been there. I, too was "creative" a long time ago. I, too posed people by the trial and error method.
Now, look at the portrait in photo # 14, showing exactly the same view of the man’s face. Pure
masculine composition, arranged in just a minute or so (no experimenting), looks comfortable, natural,

with all lines leading the eye toward the point of interest, the face.
At first glance as you look at photos # 15 and # 16, you again see a stiffness in the portrait on the left.
It is similar to another portrait we discussed earlier. But they are not the same. The previous example
was a result of the head not being properly aligned with the shoulder line. This is different. The man’s
head in this portrait, is properly aligned perpendicular to his shoulder line.
In this situation, however, the stiffness on the right side of his face and neckline is caused by the turn
of the body. And so, although the pose is properly arranged, the only way to eliminate this problem is
by a turn of the body, as illustrated in photo # 16. You see here a very comfortable looking portrait of
the man’s front view of the face. His body is facing directly front, instead of the mandatory turn that is
part of the masculine composition.
The point here is that because we can cut in to both of the subject’s shoulders in a close-up head and
shoulders portrait of a front view of the face, the body may remain facing directly front. That’s an
example of the flexibility of body turns I mentioned earlier when arranging head and shoulders poses.
Note: Because we’ve not discussed the three-quarter pose as a separate issue, I remind you that the
full length standing and seated arrangements "of the masculine composition" we’ve discussed in
Chapter 4, are also photographed in three quarter length, with no change in the arrangement.
In closing: A review how the head and shoulders pose is arranged in the masculine composition,
following a facial evaluation and planning session. Decided, that the first pose will show the subject’s
left two-thirds side of the face, and the full front of the face, which meant a turn of the body to his
right, and the posing session begins.

1. Sitting on the stool, have the subject turn his body slightly to his right. Ask him to sit up straight to
his fullest height, leaning forward slightly in the direction his body is facing, and shifting his weight
on to his right thigh, which will lower his far shoulder. (The shoulders should never remain in a
straight across horizontal line) He will need to support these leanings by the placement of his feet. 2.
Start with the front view of the face, turned full front, and adjust the head, if necessary, to be
absolutely perpendicular to the shoulder line. First pose is ready. After a few changes of expression, a
mere turn of his head to his right to show the left two-thirds view of his face, and you have another
portrait (no change of pose) 3. Moreover, an exact reversal of the above, arranged with the subject’s
body in a slight turn to his left, to show the right two-thirds view of his face, and the full front face, is
still the exact same one masculine composition.
Question? Why does everyone, Men as well as Women and Children, look comfortable, relaxed, and
seemingly un- posed, when in fact, they are all carefully and precisely arranged, within the guidelines
of either the masculine or the feminine composition,. regardless whether it is a head and shoulders,
three quarter or full length, seated or standing pose.
Simple answer: You might have noticed my frequent use of the term "slight", as in "a slight turn of
the head", or "slight turn of the body", or "a slight lean", etc., when I am explaining how to arrange
that composition, because indeed, all moves of the figure, etc., to form the masculine composition,
are never forced beyond their normal movement limitations. That is why all subjects arranged
in this composition, appear natural, comfortable, and seemingly un-posed.
Index

Chapter 6 Posing Women - Part One
In Chapters 4 and 5, I introduced the Masculine Composition, and showed how posing men in that
single composition offers a variety of head and shoulders, three-quarter length, and full-length, seated
and standing poses. Men’s poses are always arranged in a Masculine Composition.
Now, this Chapter and Chapter 7 will introduce you to the Feminine Composition, and show how
posing women in that single composition offers a variety of head and shoulders, and seated and
standing three-quarter and full length poses. And, as you will see, women are also posed in a
Masculine Composition.
Full Length Standing Poses
Reminder: A portrait sitting session does not begin by posing the subject, but rather, by a short Facial
Evaluation and Planning session, (as detailed in Chapter 3), when we decide which view or views of
the subject’s face we will photograph. And then we pose the subject in a composition that supports the
chosen view of the face.
In photo F-1 the young woman stands facing front, feet together, ready to be posed. The posing begins
by a slight turn of the body to one side or the other. To proceed here, let’s assume that you’ve decided
to show the front view of her face first, and then to turn her face toward her left shoulder to show her
right two-thirds view of the face. THAT TELLS YOU that you need to turn her body to her left in this

pose.
The posing begins on the floor by the placement of the feet (same as the man). Ask her to keep her
right foot as is, and to move her left foot back a bit behind the right foot. Then, ask her to point the left
toe to the left as indicated in photo F-2 (same as the man). As you see, the body has automatically
turned slightly to her left. If you studied the Posing Men Chapter, you will remember that if you want
to make any adjustment to the turn of her body, you do that by asking her to turn her left foot just a bit
one way or the other. Finally, you have her shift her weight on to her left hip, and bend her right knee
by rolling her foot to the side as shown in Photo F-3. (NOT like a man. Like a woman).
In photo F-4 her figure is now properly arranged to show first, the front view of her face as you
planned. Now, the straight lines of the arms need to be brought into diagonals (same as the men), as
you see in photo F-5. Finally, the position of the head.
Her head is tilted slightly towards her right (near) shoulder, and you are looking at a perfectly
arranged classic Feminine Composition. The entire figure from head to toes falls into a very
gentle S-curve. There is more. Look at the difference between photos F-5 and F-6. While the figure is
identical in both photos, the overall effect in photo F-6 looks different. The difference is in the
position of her head. It is perpendicular to her shoulder line. A Masculine Composition.
The difference between the masculine and the feminine composition is in the turn and position
of the head. In the masculine arrangement, the body is turned slightly (still showing the far
shoulder). The head is then turned slightly to the front to show the exact front view of the face,
and positioned perpendicular to the line of the shoulders. A slight turn of the head toward the
subject’s far shoulder, will now show the side view of the face. An absolute: The head is never

turned in opposite direction to the body in a masculine arrangement.
The feminine arrangement is exactly opposite: It begins with a turn of the head toward one or
the other shoulder, and the head is positioned in a slight lean toward that shoulder. (This is
covered in detail next in Chapter 7)
As we discuss the posing in photo F-7, you will begin to understand how the versatility of poses
offered by the pure Feminine Composition (as well as the Masculine Composition when appropriate)
are used in Posing Women.
The figure in photo F-7 is still in the same pose, except for the turn of the head. I remind you, that
slight turn of the body to her left was planned for supporting the front view of her face and also her
right two-thirds view of the face. And now, we see another choice. Turning her head toward the near
shoulder without changing the pose, now also shows her left two-thirds view of the face. And note the
position of the head: Masculine in photo F-7, and feminine in F-8.

Another variation of the same single posing composition: The pose in photo F-9 is an exact reversal of
the pose of the preceding figure in photo F-8. The same view of the face. It takes but a minute of two
to reverse the pose, starting by repositioning the feet (shown in photo), etc.. See head positions:
Masculine on the left, feminine on the right.
The same pose, body turned to her right, showing front view of the face, masculine on the left,
feminine on the right.

Masculine on the left, Feminine on the right. Both effective. Especially when you zoom in for a close-
up head and shoulders, as in photos F-13 and F-14.
Were we really discussing how to arrange just one single pose? Consider the following: Each
completed pose offers a choice of a head and shoulders close-up, a three-quarter length pose,
and a full length pose, all ready to be photographed and no change in the pose. There are ten
completed poses among the images we discussed. That means 30 choices of poses, plus a variety
of expressions!
The importance of this approach is that you are not experimenting. You are comparing and evaluating
available options. Every pose you arrange is complete in itself, and each pose offers a variety of
applications and effects. What you choose to photograph, becomes the portrait you created.
Full length Seated Poses
The graceful S-curve that is the core of the Feminine Composition, is ideally suited for creating
elegant seated poses of women in full length. Because the composition of a completed full length pose
includes the entire figure, it offers the flexibility of bringing the camera in for close-ups, mid-distance,
as well as full length portraits, without changing the basic pose in any way.
The following is a step-by-step approach to arranging a woman seated, in a full length pure classic
Feminine Composition.

A reminder: All posing of men or women begins with the subject’s body turned a bit to one side or
the other. Therefore, always position the chair for seating the subject turned a bit to one side or the
other. When she sits down as the chair is facing, her body will automatically be turned in the right
direction.
How do you know ahead of time what is the right direction for placing the chair? That is decided
ahead of time, during the short Facial Evaluation and Planning session (as detailed in Chapter 3),
when you decide which facial views you will photograph.. That indicates the turn of the body, and the
posing session begins by placing the chair turned in the proper direction to support the planned turn of
the body.
Photo F-15 shows how, when asked to sit down, she assumed that somewhat slouching , relaxed
posture, as most people will usually do. Yet, you can see how that slight turn of the chair,
automatically placed her body in a desired turn, as planned.
First step toward the feminine pose: She is directed to sit up, leaning away from the back of the chair,
and to bring her body to its fullest height by arching the small of her back. Both feet are brought
forward side by side. All illustrated in photo F-16
The next step is arranging the feet as shown in photo F-17. The front foot is brought forward, and by
bending the knee, the foot is moved to the side where it is in alignment with her near right shoulder.
And the back foot is moved back a bit behind the front foot, similar as in a standing pose. Note: It’s
impossible to verbally direct the subject to position her feet that way. I always, when posing a woman
seated in full length, after the figure was arranged, simply told her I will arrange her feet, and got
down and did it. If you like this pose, you will have to do it yourself too. But do not try it on a client

until you can do it. Try it first on a few friends or members of your family.
To complete this pose now, it was planned as a portrait of the front view of her face. Photo F-18
shows the two final adjustments. Her head is turned to the front to show a precise front view of her
face. Her head is tilted towards the near shoulder. Her hands are moved in her lap to achieve a slight
bending of the elbows and the diagonal lines of the arms.
As you look at this pose, starting at the top of her head and going down to the tips of the toes, it

reflects a continuous graceful S-curve. And, photos F-19 and F-20 show how perfect compositional
arrangements offer additional options.
Look again at photo F-18. It is an absolutely perfect Feminine Composition. Now compare this
portrait with the perfectly lovely portrait in photo F-21. Note that the pose of the figure is identical in
both. But the general feeling of the total image in these two versions is quite different. The head
position in photo F-21 is perpendicular to the shoulder line. A Masculine Composition.
Next photo F-22 shows another option. The head is turned to he left to show the right two-thirds view
of her face., and the head is in the masculine perpendicular position. Photo F-23 shows the same pose,
but the head is tilted toward her near shoulder, a Feminine Composition.

Photo F-24 shows the same classic feminine composition reversed with the body turned in the
opposite direction. And photo F-25 shows the head in the masculine composition.
Photos F-26 and F-27 show the same figure arrangement supporting the front view of the face, but
different head positions.

Clearly my approach to posing is not one of groping and trying to find an interesting pose for every
subject I photograph. Instead, the elegant simplicity of my Masculine and Feminine posing
arrangements, provide a wide variety of equally effective options. How do you choose? Simple! Since
they are equally effective, your choice can depend entirely on your personal reactions.
This concludes Part One of Posing Women. Next, Chapter 7, Posing Women - Part Two, will
deal with the important topic of head and shoulders portraits.
Index

Chapter 7 Posing Women - Part Two
In the chapters on Posing Men, I showed and explained how poses of men are always arranged
only in a Masculine Composition. Then, in Part One of Posing Women, I introduced the
Feminine Composition as the most elegant way to pose women. And I also showed how women
may be effectively posed in a Masculine Composition. That feature becomes even more
important when applied to head and shoulders Portraiture. (In this Chapter)
There is an important distinction between full length, three quarter length, and head and shoulders
poses. The first step toward arranging either pose, is the turn of the subject’s body to one side or the
other. But in poses where the subject’s figures are included in the composition, such as the three-
quarter and full length poses, the amount of that turn is controlled by the need to show the subject’s
figure in proper balance.
In head and shoulders poses, (where there is no concern with the subject’s figure), the first step toward
arranging a pose in Feminine Composition is a turn of the head in the opposite direction to the body,
and the amount of that turn is very critical, as I will show you now.
Compare the two photos (28 & 29) showing the same view of the face. Look at the distortion of the
young lady’s neck on the left, and the difference on the right. I’ve seen that pose on the left many
times. It is a result of beginning a portrait session by posing the subject first, and then directing her to
turn her head to the camera.

Photo 30 is another example of accepting the body pose first, and then directing the subject to turn her
head to show the desired view of the face. Photo 31 on the right, is the opposite approach: First,
choosing to photograph that view of the face, and then posing the body to naturally support the chosen
facial view.
Photo on the left is a lovely profile, turned to the camera after the body was posed first. But look what

happens as a result of a slight correction in the turn of the body in photo 33. An infinitely more elegant
overall effect.
Photo 34 shows a shapeless stub of the body and a thick neck, supporting that lovely face and smile.
Photo on the right shows the same nice face and smile, supported by a believable amount of body.
The point made by the examples above, is the word "slight", a term I use constantly throughout
my instructions related to any of the movements that are part of arranging a pose. As you saw in
the above examples, those neck distortions occur when the subject’s head is forced to turn
beyond the limit of its natural turn.
Arranging a Head and Shoulders Pose

I arranged all head and shoulders poses on the turn platform shown in this photo. It is very convenient
for relating different facial views to the camera by a slight turn of the platform, without changing the
pose.
The session begins by seating the young woman facing directly to the front, as you see in Photo F36,
above. That is how every subject is seated during the short facial evaluation and planning period,
before the posing begins (Details of that in Chapter 3).

Note: The six photos of the subject’s entire figure, seated on a posing stool positioned on the turn
platform, will now show how the head and shoulders feminine composition pose is arranged. But to
judge each resulting pose properly, you must be able to see it effectively framed as just a head and
shoulders portrait, and I recommend using two small cropping angles for that purpose.
Photo F-37 shows the subject as she first sits down at the start of the facial evaluation session.
Following that, you begin the posing session by directing her to sit up and bring her body to its fullest
height, with a tiny lean forward. Her hands are brought up in her lap to bend the elbows, creating the
arm diagonals. Her head is then turned slightly to her right to show the left two-thirds view of her
face, as planned during the facial evaluation session, all illustrated in photo F38.

Next, you want to achieve a very slight lean of her body to the side to lower her left shoulder a bit.
Direct her to separate the feet to provide her with the needed leverage for leaning to the side. This is
illustrated in photo F-39. Note that her head is lined perpendicular to the shoulders, which is a
masculine composition.
Photo F-40 shows the head tilted toward the higher shoulder, and that is a feminine composition. I
remind you to only view the head and shoulders close-up of this arrangement (by cropping).

The pose in Photo F-41 is an exact reversal of F-40, and may also have either the feminine or the
masculine head position.
A review: Four steps to arranging the Feminine Head and Shoulders Pose.
1. The subject is seated facing front. She is directed to bring her body to her fullest height, with a very
slight lean forward. To do this, she needs to separate and position her feet to provide leverage to
maintain that posture.
2. Now, that she has the leverage, have her lean the body ever so slightly to her left to lower that left
shoulder just a bit.
3. A slight turn of the head in the opposite direction to the body, to show the left two thirds view of
her face.
4. A slight tilt of the head toward the higher (right) shoulder. The result is a pure, gentle, feminine
composition.

The lovely, simple classic portrait of the young lady in photo F42, was created by following the four
steps to arranging the feminine head and shoulders pose . But that’s not all. In addition to the portrait
showing the full front of her face, the following equally lovely portraits of the other 4 views of her
face, were photographed without changing the pose in any way.

You, who are reading this, should check this out for yourself. Use a friend or a member of your family
(attractive young lady), and following the directions of the four steps above, arrange her in a feminine
head and shoulders pose, showing her two-thirds side view of the face, like in photo F44 above.
Now, if you have, or can borrow a large empty frame (20 x24?), use it to crop your head and shoulders
pose, and do the same as you get in front of each of the five facial views, you will see five portraits
available with no change of pose.
Obviously, bringing the camera in front of each of the five facial views is not a practical option. We
must therefore somehow move each pose to face the camera, without disturbing the pose. You can
understand now why I always arranged head and shoulders poses on that rotating platform.
But, when you don’t have such a rotating platform, you work a little harder. After you’ve arranged and
photographed the first planned view of the subject’s face, step over in front of the other facial views to
see each pose from that angle. If you choose to also photograph one or more of them, I’m sure you
could figure out how to turn that pose to the camera without disturbing it. Note that the seat of the
posing stool the subject is sitting on turns freely.
As I am nearing conclusion of the chapter on Posing Women, I want you to see three more portraits of
this young woman, and comment about it.

A classic head and shoulders close-up portrait of an individual subject is a most intimate form of
portraiture. Everything is planned to attract a viewer’s attention to the subject’s face and
expression, and to keep it there.
The planning includes coordinating clothing and background. It applies to both low key or high key
portraiture. One must avoid any distracting elements that would draw the viewer’s attention from the
subject’s face. The three images above are an example of such planning.

Some final comments: These two Chapters on Posing Women, explain and show how arranging the
woman in the Feminine Composition, offers an infinite variety of poses, as head and shoulders close-
ups, or three quarter or full length, seated or standing, all of the same pose. The variety I am referring
to here, is not a choice of just cropping portions of the composition, but particularly a choice of all or
some of the facial views as a head and shoulders portrait. (Illustrated above)
A timely reminder: Each facial view positioned in front of the camera requires readjusting of your
key lighting. Portrait Lighting - Chapter 13
Index

Chapter 8 Classic Portraiture of Family Groups
Years ago, when we became a 100% Portrait Studio, a fair number of our bookings were for group
portraits of children and family groups. Lacking experience in group portraiture, I did what other
photographers were doing. I tried to arrange everyone together into as pleasant a grouping as possible.
Although our clients seemed pleased to have the group portrait they wanted, I did not like this method
of fitting people together to form a group. I felt this approach obliterated any individuality between the
members of the family, and I began to visualize a more effective way of portraying a family group.
That led to the development of what became my particular style of Classic Group Portraiture.


When you examine the enclosed examples of family groups, you’ll understand the effects of this
method of posing. At first glance, these portraits look as if they are no more than a grouping of
individual portraits of each member of the family. Each figure, child or adult, is in an
appropriate masculine or feminine arrangement, seated or standing, and could, indeed, be
photographed alone as they are posed.
But then, looking at the whole picture, you see an interesting grouping of faces with pleasant
expressions, and the figure of each individual member of the family reflecting the age and height

relationship between them. A truly informative and cohesive portrait of the family, yet, the
individuality of each person in the group remains fully evident.
Note also the arrangement of feet and legs, and how hands are posed in these photographs. And note
the lighting on all the faces, provided by a single frontal key light, raised high enough to achieve good
modeling. My bounce light system provided the basic fill lighting in all of these portraits. (Chapter 12)
Detailed Explanation and Illustrations of my approach to arranging family groups
Instead of posing a group from the center out, I start at the ends, and build toward the center.
Depending on the number of people in the group, I establish the perimeter for the arrangement by
placing one person at each end, leaving sufficient space between them for adding the remaining
members of the family. Everyone is positioned in the arrangement in either a masculine or
feminine pose, seated or standing.
I always begin by posing Mother seated in a chair at one end. Then, Father is posed seated in a chair at
the other end of the perimeter. From then on the remaining members of the family are posed within
the area between the parents...one at a time, seated or standing, where needed to achieve a desired
grouping.
After Mother and Father are in place, my efforts are focused entirely on arranging an
interesting grouping of faces. That becomes a guide as to where and how to position and pose the
bodies. Their figures must support the faces in a desired place within the group. The end result,
as you may see when you look at my group portraits, is indeed, a pleasing cluster of faces and
expressions.


As illustrated above, I began arranging that family of four by posing Mother seated in a chair at one
end, Then, Father was posed seated in a chair at the other end of the perimeter as planned for a group
of four, and the two children were posed, one at a time, in the remaining planned space between the
parents. Note one face is positioned at a level above the parent’s faces, and the other below, to form an
interesting cluster of faces throughout the picture area, rather than a line up of faces along the top.
The next four photos show, in a step by step progression, the same approach in arranging the group of
seven. Estimating the perimeter of the space needed for this group, Mother was posed seated in the

chair at one end, and Father at the other. And the five children will now be arranged in the space
between the parents.

Important note: As I mentioned before, after Mother and Father are in place, my concern at this point
is not where or how to pose the remaining members of the family. My efforts are now focused
entirely, on what is the essence of my approach to portraiture of groups. Arranging an interesting
cluster of faces. And that becomes the guide to where and how to pose the subjects’ figures to position
the faces in a desired place, as in photo #8.
Arranging an interesting grouping of faces: How to do that? You show faces on different levels

throughout the picture area. (Photo 8) Never a row of faces next to each other along the top, and only
bodies below. Never have two faces next to each other at the same height, unless they are separated by
another figure of different height. Never faces on lower level lined up directly under faces at upper
level
Back to arranging this family of seven now. To avoid the need for rather drastic up and down scrolling
you’d have to do to keep track of my comments here, and checking against the photos up above, here
are the four photos again, to make it easier to get to.

Mother and Father are now posed at each end, and the perimeter for arranging this group is established
(Photo #5). I chose that boy for the center spot (in photo #6) because of his height, which placed his
face approximately on a level with the faces at each end. That one face at that level becomes the center
of the group, and the two open spaces on each side of the boy are exactly right for placing the two
faces at the upper level (Photo #7), and the two remaining faces at lower level (Photo #8). Note how I
used the ages and different heights of the children to place the faces where I wanted them. Result: A

very handsome looking family. Your interest is on the nice faces, not on bodies.
Another way: The above described arrangement of a family group begins by first posing Mother and
Father at each end, thus establishing the perimeter of the group, in this case a Family of Eight, and the
six children would then all be posed in that planned space between the two parents. I find that
approach very effective. That is how the family of seven, in photo #8 were arranged, and I almost
always begin arranging a family group that way.
But occasionally, things just don’t seem to fall into place with this approach. When that occurs I begin
by posing the parents in the center. Mother is seated, and Father is standing along side. Then, I
establish the working perimeter for the group by placing a member of the family at each end. And
from then on, the remaining members of the family will be posed in the spaces between the parents
and the people at each end.


Photo #10 shows the basic start of arranging a grouping of eight people as illustrated in photo #12, and
the end result of that arrangement, as you see, is the compositionally interesting cluster of the eight
faces. Remember, each face and the figure supporting it is positioned where needed, one at a time, at
the upper levels and the low levels within those spaces between the parents and the two end figures.
Just keep looking at these photos, and you’ll almost feel where you’d like to put each face in the
composition.
Important point: I arrange all groups, large or small, in a single row. No second rows. Look at all my
group portraits throughout this chapter, and you’ll see all the faces appear in a single plane (no second
row). And also, that single row is in a very slight curve, rather than an absolutely straight line across.
The three posing arrangements we’ve discussed, showed how a family of four, family of seven, and a
family of eight were arranged, to create an effective cluster of faces, and also showing the figures that
support them. The primary point of interest in these portraits is the grouping of the faces. How do we
achieve that? Simple! Dark clothing, against dark background. No distractions to compete with the
faces.
New topic now: Yes, a clothing discussion meeting, usually with Mother, at the studio, several days
before the booked date for the sitting, to discuss what everyone will wear. Explaining the need for
coordinating colors and tones of the clothing, she is then asked to bring a selection of planned clothing
for everyone several days before the scheduled date, to give her time to make any needed changes.
Every one of my group portraits throughout these chapters was preceded by such a meeting. As you
see, the results vary.
A respectable large percentage are fully successful in maintaining full attention on the cluster of faces.

Most of the rest include some minimal distractions, that do not seem to compete with the faces for
attention. But, of course, some very, very few clients know exactly what they want, and will not go
along with our suggestions. Photo #13 below.
Portrait of 5 beautiful faces and nice smiles, when you find them among the clothing.. And next photo
#14 showing the young lady who refused to dress like the other ladies. Interesting visual exercise: Just
cover the white dress, and all the faces will pop right up. Remove cover from the white dress, and the
faces disappear.

Clearly, photographing a grouping of people wearing dark tone clothing against a dark background,
focuses attention on the faces in that group, which is the essence of my approach, and a studio
environment is an ideal place to do it. All the group portraits displayed throughout these chapters were
made in our studio.
And that raises a question? What do my instructions, illustrations, and explanations mean to you when
you don’t have a studio? You work on location, mostly outdoors, and sometimes in homes, etc.. No
dark background, nor coordinated dark tone clothing.
Answer: No matter where you photograph people, and regardless what facilities and equipment you
may have to use, you still need to know how to pose people effectively, singly or together. These
chapters provide that information, as well as other important related procedures you may use, no
matter where you work. Then again, if you do have a studio, you might like to set up your camera
room as I did mine, with a bounce light system as a permanent fill light (Chapter 12), and be as happy
as I’ve been for over 50 years.
During those 50 years, we served the families of the surrounding communities where we lived, with
my brand of traditional classic portraiture, displayed throughout these chapters, all obviously made at
the studio. Occasionally, however, some clients insisted on an outdoor setting, and I want to show you
a few examples of how I kept the same classic approach outside the studio on location.

As you compare the two photos, you can see that I apply the same principles to family groups
outdoors as well as indoors. This portrait clearly illustrates that my posing approach in outdoor
groupings is exactly the same as in the studio There is one main difference, however, when I pose
groups outdoors, I separate the figures to allow the background into the overall composition of the
grouping.

The four photos above clearly illustrate that, traditional classic studio portraiture is equally effective in
an outdoor environment. It involves the same posing principles, lighting, control of background, and
composition. That, I believe, makes my point. It is not where you work, but how you work!
Closing comment: Remember, the placement of faces - not the bodies - determines the
effectiveness of the grouping.

Index

Chapter 9 Lenses and Camera Positions in Portraiture
Note: This is not intended as a study of lenses of varying focal lengths and their uses. The only
purpose of the following information, is to provide you with practical guidelines for selecting
lenses of correct focal lengths related to portraiture, without actually identifying or
recommending any particular lenses.
Most portrait poses fall into one of the following three categories. The close-up head and shoulders
pose; the mid-distance three quarter length pose; and the long-distance full length pose. Thus, lenses
of different focal lengths are required for maintaining natural perspective and for avoiding distortion
when photographing poses in all of the above three categories.

Yet, all too often, photographers are apt to compromise on a focal length of a lens when
photographing a particular portrait pose....achieving less than satisfactory results. When the focal
length of a lens used to photograph a close-up head and shoulders pose is much shorter than normally
required, it usually follows that the camera -to-subject distance is shortened to fill the negative
properly. This often causes the subject’s nose or other facial features to become slightly distorted.
Likewise, when too short a focal length lens is used to photograph a mid-distance three quarter length
pose, a hand or hands resting in a forward position within the pose may appear too large.
Conversely, when the focal length of a lens is much longer than normally required for a given pose, it
may tend to flatten and reduce the effect of depth and three-dimensionality. Ideally then, it follows
that lenses of recommended focal lengths be used to photograph close-up, mid-distance, and full
length poses on the same film size. The following formula offers a practical guide for selecting
effective focal lengths for each different portrait posing category, regardless of the format size you
may be using.

The Formula
The basic general-purpose lens normally supplied with most cameras, has a focal length that
approximates the measurement taken diagonally from corner to corner of the film format. For
example, the 6x6cm format camera would have an 80mm lens; the 6x7 camera would have a 90mm
lens; the 35mm format a 40-55mm lens; and the 4x5 inch format would call for a 150mm lens. In
portraiture, this so-called general purpose "normal lens" is used for all long shots such as full length
poses, seated or standing, and for groups.

In estimating the minimum requirement for close-up head and shoulders portraits, the focal length of
the lens should equal approximately double the measurement taken diagonally from corner to corner
of the format. A somewhat longer focal length may be considered as maximum.
For example, with the 35mm format, you may use a 105mm focal length as minimum or 135mm focal
length as maximum; with a 6x6mm format use 180mm, or 250mm. When you photograph three
quarter length (mid distance) portrait poses, use the shorter of the two focal lengths suggested above
for each format.
Note: No lens is complete without a lens shade or lens hood, regardless of where or how the lens is
used. That is absolutely essential for assuring good, crisp negative quality.
Camera Perspective
You must know where to position the camera to properly photograph the subject. It is not simply a
matter of aiming the camera toward the subject. Instead, one must place the camera at a special angle
to achieve a planned perspective of the subject. Indeed, it is possible to alter the shape and form of the
subject’s facial structure substantially, by varying the perspective, as illustrated here.

The photo on the left (#5) shows the effect of a high camera perspective. As you see, too much of the
top of the head is showing. The face and the nose become elongated. The chin appears weak. Not
enough of the neck is visible. The overall result is a distortion of the facial features to a point where
the actual likeness of the subject becomes obscure.
The photo on the right shows the effect of what happens when the camera perspective is too low. In
that case, there is not enough of the top of the head showing. The face and the nose are foreshortened.
The chin and the neck appear too prominent. Again, the facial features are altered sufficiently to
obscure the actual likeness of the subject.

Now here, when you see what this young lady really looks like, you can understand the importance of
using correct camera perspective in portraiture. Retaining an accurate likeness of a subject simply
means that, all components of the subject’s facial features must be recorded by the camera in perfect
balance with each other. None of the features should be distorted.
When the camera is placed where it will record an absolutely normal view of the face, that
camera position is referred to as a normal camera perspective.
Important point: The height of the camera may therefore, fluctuate to whatever height may be
needed to record a normal view of the face. It depends on how the subject is positioned for the portrait.

When you want to capture a recognizable likeness of a subject, obviously you avoid using an overly-
high or overly-low camera perspective. But on some occasions, depending on a particular subject’s
facial structure, you may decide to digress from the normal perspective. That would be, when you
think the subject’s appearance may be enhanced by this change.
For example, you may consider using a slightly higher camera perspective (as shown in photo #8, on
the left) when you photograph a subject with a rather short, turned-up nose. This slight change will
tend to enhance that subject’s appearance, without overly influencing the subject’s likeness.
Conversely, when you photograph a subject with a rather long nose, you could enhance that subject’s
appearance by using a slightly lower camera perspective (see photo #9 on the right).
By and large, the normal perspective will always prevail. You will only make use of a higher or lower
perspective when, in your opinion, the subject’s appearance may be enhanced by it. Note - in general
photography such options are very useful as a means for creating unusual effects. But in
traditional classic portraiture, digressing from the normal camera perspective should be
carefully considered, and rarely used.
Camera Positions for Normal Perspective
Close-up poses: In head and shoulders poses, the camera position is always related to the subject’s
face. After the pose is completed the camera is positioned at a height and tilt necessary to bring the
film plane parallel to the facial plane. This can only be done when the pose is framed properly in the
camera. That establishes a normal camera perspective for recording an undistorted likeness of the face,
and is the correct camera height for that pose.

In close-up poses of two faces on different levels, you complete the pose first. Then position the
camera at a height where the two facial planes will be in parallel with the plane of the film. At this
point, because the faces are on different levels, the exact normal view of each face may have to be
adjusted for the camera by a slight tilt of the head, up or down.
A few comments related to arranging close-up head and shoulders poses. Avoid any thoughts about

where the camera may be positioned, until you have completely arranged a pose. Unrestricted, you
may have a subject’s face tilted up or down as you feel about any particular pose. As a result, you will
then position the camera at whatever height necessary to maintain normal camera perspective.
Mid-distance poses: The method for establishing correct camera heights for three-quarter length
poses is somewhat different. First, pose the subject either seated or standing, directed toward the basic
camera position, using a masculine or a feminine composition that will support the view you want of
the face. Then, after the pose is arranged and refined to your satisfaction, bring the camera to a height
where its film plane can remain parallel with the plane of the overall body composition when the pose
is accurately framed by the camera.
It is important to remember that, while the camera height in a close-up pose is related to the tilt of the
subject’s facial angle, exactly the opposite holds true in a three-quarter length pose. Here, the camera
height is based on how the body is posed.
As a result of establishing the camera height this way, an important new factor emerges and must be
dealt with. Each time you position the camera at a required height needed to record an undistorted
view of a three-quarter length body composition, the facial angle you intend to photograph may not be
accurately related to this camera position. In that case, to complete the pose you must adjust the
position of the subject‘s head, bringing the desired facial angle to the camera. This procedure is
applied to all three-quarter length portraits, in seated or standing arrangements.
Full-length poses: The procedure for mid-distance poses also applies to seated full length poses, with
only one difference. The subject’s entire figure is framed in the camera from a height where the film
plane can remain parallel with the plane of the posed figure. The pose is then completed by tilting the

head to bring the normal view of the face to the camera.
Standing full length poses require a different approach. The camera must be positioned where the film
plane will remain parallel with the standing figure when the pose is framed in the camera. That means
the camera must be kept in an absolutely straight upright position, without tilting up or down. The
reason for that, is to avoid distorting the figure.
When you have to tip the camera down to frame the pose properly, the figure appears foreshortened.
When you tip the camera upwards to frame the pose, the figure is elongated. Hence, the need to keep
the camera in a straight upright position is essential, in order to achieve a normal, undistorted portrayal
of the figure. That establishes a normal camera position for standing full-length poses.
Keeping the camera parallel with the figure places the camera at about the height of the subject’s waist
level, which is normal. But, keep in mind the need to adjust the subject’s head at this point, to relate a
normal facial view to the camera. Another reason to avoid tilting the camera is that full length
portraiture, particularly on location, often includes surrounding objects, such as windows, doors,
drapes, book shelves, etc.. Tilting the camera causes unpleasant distortion of vertical lines. Keeping
the camera parallel with the surrounding area eliminates that problem.

Two or More Subjects
The above instructions for establishing a normal camera perspective in head and shoulders, three
quarter length, and full length poses, apply when posing separate individuals. But when these
guidelines are applied to groupings of two or more people, additional adjustments must be made.
Close-up poses: When two subjects are arranged in a head and shoulder pose, their faces are usually
placed on different levels to create an interesting composition.
Indeed, the height relationship between the two faces usually varies from pose to pose. Yet, in spite of
appearing on different levels in the composition, both faces should ultimately appear in the portrait as
if viewed from a normal camera perspective.

To achieve that effect, first, arrange and complete the desired pose. Then position the camera at a
height averaging between the two faces. Now, adjust the head of each subject up or down as needed,
to relate the normal undistorted view of each face to the camera.
Full length poses of groups: If you’ve read my chapter on posing groups in this series, and looked at
the examples of my group portraiture, you will understand that only full length poses allow me the
space to create an interesting grouping of faces, rather than just bodies. You would have also read and
saw that I arrange all groups in a single row. Look at all my group portraits.....all the faces are in a
single plane. No second row!


Camera placement for groups: After the pose is arranged, the camera is positioned at a height level
facing the general middle of the overall group. That establishes a basic camera perspective for
recording the figures and faces looking normally proportioned and undistorted.
Some closing comments: First, you probably wonder why I failed to mention relating each face in the
group to the camera position. The answer is that the faces in full length groups are small. They are
distributed throughout the picture area. So, when the camera is positioned facing the general middle of
the overall group, I ask everyone to look toward the camera, and accept the likeness of all faces as
they appear at that distance. This approach applies only to full length group arrangements.
Things to remember for establishing a normal camera perspective
1. Close-up poses: The camera position is related to the subject’s face by placing the camera at a
height and tilt to achieve a parallel between the facial plane and the film plane.
2. Three quarter length poses: For seated or standing subjects the camera position is related to the
subject’s figure. It is placed at a height to properly frame the completed pose in the camera. Then, the
subject’s normal undistorted view of the face is related to the camera.
3. Full length poses: When photographing a full length pose with the subject seated, the same
principles apply as for three quarter length poses, detailed just above.
4. Standing poses: The camera is kept in a straight upright position without tilting up or down. It is
positioned at a height (waist level) to frame the figure in the camera. Then, the subject’s face must be

related to the camera height.
Index

Chapter 10 Posing Babies and Young Children
I always posed Babies and Young Children in the same classic formal style as adults, either in a
masculine or a feminine composition. Thus, the posing instructions in my chapters on Posing Men and
Posing Women also apply in this chapter for posing Children, as you will see. Indeed, the facial
evaluation and pre-planning procedure at the start of an adult session also applies to children, but with
a different approach.
A reminder: As mentioned earlier, an adult session of an individual subject always begins with a
short facial evaluation and planning session. (See Chapter 3) Its purpose is to allow you to decide
which facial view or views you will want to photographs. That information is important at the start of
the session, because you choice of facial angle determines how to pose the body to effectively support
that view of the face. Obviously you also need this important information when doing a portrait of a
child. But such facial evaluation and planning sessions are, of course, not possible with Babies and
Young Children. Therefore, a different approach is needed.
Difference in Approach
Unlike adults, babies and young children can not be directed and told what to do, and therefore require
a psychological (sneaky) approach. Ideally, controlled portraiture of children is a team endeavor. You
need a helper who can engage and keep a child’s interest and attention, and keep the child entertained
while you do the following:
1. Look at the child’s face, and decide which side view of the face you will photograph.
2. That will indicate how the body must be posed.
3. Head and Shoulders? Three quarter length, seated or standing? Full length, seated or standing?
4. Whatever pose you decide on first, the necessary props are brought in and set up.
5. And, because you know exactly what the pose will look like, you set up the lighting where you’ll
need it, and the set is then ready for the child to be brought in.
The above, although speaking directly to you, explains my approach to formal classic portraiture of
children up to the point when the child is brought on the set. Study the variety of portraits of children
that follow, see how they were made, and the props used in arranging those poses.

These four blocks used separately, offer a variety of height levels useful in many situations. The
blocks are constructed of 3/8 inch plywood, each of different dimensions, as follows: 16x20x28.
12x20x28. 16x20x36. 12x20x36.
When the four blocks are combined as shown in the #2 photo, the resulting platform is 20 inches high
with a 28x64 inch posing area. I use this platform covered by a rug that matches the background, to

pose babies and young children in a variety of poses, as you will see.
A familiar sight you will agree, is a Mother who always carries her baby straddled on her hip. More
likely than not, this indicates a very strong physical bond between them, and when Mother wants a
portrait of baby, a stranger/photographer discovers there is no way to get the baby into the posing area.
That is what this illustration is all about. The four blocks are combined to form this platform. Mother
lies down, and the baby is happy to remain with Mother, as illustrated here. An easy way to get some
lovely head and shoulders close-ups of the baby. I also like to include the baby’s hands, and in order
to do that, the hands have to be raised to exclude Mother. Giving the baby something to hold, as
shown here, always works. Indeed, occasionally, a baby will raise the hands in a spontaneous response
to our entertainment, as you can see.

Both of the above portraits were made of the babies sitting on Mother lying down.

This baby poser was designed to serve one specific purpose; To provide a safe and convenient means
for supporting a baby in an upright position to be photographed, when a baby is still too young to sit
up unsupported. The A-shaped structure of the poser is hinged, and the adjustable metal cross bar
allows it to be locked in any position. As shown in the photos, the poser may be locked in its
maximum open position to be placed on my platform. Note that Mother can sit just our of camera
range to keep the baby absolutely safe. The poser is covered with a small rug before the baby is place
on it.
Next three photos show the lovely portraits of the two babies, made possible by this prop.

I remember struggling, as many other photographers did, and still do, trying to find some effective
way to pose a baby too young to sit up unsupported. And now, these three lovely portraits, showing
the babies looking relaxed and happy and at their best, is my approach to posing the very young baby.
But when they are older and are comfortable and relaxed sitting up, I pose them in full length, thus
adding the appeal of the total baby, as shown in the next two photos.

Note the platform in use here for posing the babies in full length, and its use next when posing older
children in full length, seated and standing. Before proceeding, I also want to introduce the stools you
will see used in other arrangements.
I designed this group of assorted height stools for posing children of different ages, so each child
could be provided with a proper height stool for its size, and be posed comfortably in a seated
arrangement. You’ll see how these stools are used to pose children in full length seated poses, and also
in head and shoulders arrangements. And the stools are extremely important when arranging groups.
The heights of the stools are as follows: The shortest is 10 inches high. The next two are 12 inches.
Each of the remaining three is 14, 15, and 16 inches. The seat measurements are as follows: The
shortest is 8x10 inches. The next three 9x12. The two tallest are 11z14.

I like to pose the children on the platform for two reasons. One: I can control the horizon line. And
two: The background light is conveniently concealed behind the platform. As you can see, the little
boy is seated here on a stool of just the right height, to allow his body to assume this relaxed and very
effective masculine composition. This is a planned portrait from start to finish. It was to be full length.
The clothing was planned. Appointment time, while the boy was entertained and occupied, I did a
sneaky evaluation, decided what direction to turn the body, set up the platform, placed the proper
height stool on it, turned in the direction I decided his body will face, arranged the lights where I knew
I’d want them to be, and NOW, continuing all the fun, he was brought on the set all ready for him, and
would you believe it, HE SAT DOWN just like that, in a masculine pose. My reason for describing all
those details? All my portraits of children are planned and handled that way.

Having decided how to arrange the little girl in this full length standing pose, she was positioned on
the platform, her body turned just a bit to her left, with the feet side by side facing in the same
direction. Now, look at the placement of her feet in this photo. They are in a classic position for
arranging a full length standing pose of a man or a woman, as I demonstrated in both Posing the Man
and Posing the Woman chapters. Adults, of course, are simply directed to place their feet that way.
But when posing children, I actually have to arrange their feet, and here is how I do it.
While I talk to the child about anything, I get down in front of her, and keeping her steady with one
hand I place my other hand on the front foot, gently pulling it forward and turn it with the toes facing
me. I then reach behind her knee and very gently push her knee into a slight bend which causes her
weight to shift down on to her back leg. Why the doll? That is to cause her arms to bend into
diagonals. What you are looking at is a perfect feminine composition. And how about a turn of the
face to show a front view? Takes a long time to talk about all this, but only a few moments to DO IT.
I’ve done it thousands of times, boys and girls. Always works, because it is a very comfortable
and relaxed body position.

In this photo of two children, you see why I provided myself with an assortment of different height
stools. The stool the girl is sitting on is exactly the right height for her size, allowing her to be seated
comfortably to achieve this pose with her younger brother standing. Note the boy in this photo is in a
pure masculine pose, his feet as I arranged them to cause him to assume this classic pose. The next
photo shows the props combination I use in posing close up poses of children.

One of the four (platform) blocks, placed on the round turn platform, and stools in a choice of heights,
provide a very effective and versatile platform for arranging children of all ages in close up head and
shoulders poses. And the rotating feature of this platform provides an easy way to relate additional
views of a completed pose to the camera, without disturbing the pose.
In close ups of babies and very young children like this little girl, I like to show more of the child, and
that is generally accomplished by including hands in the composition. As you are looking at this pose,
imagine a slight turn of the platform to bring the front view of her face to the camera. A new pose
without changing anything, just a slight correction of the main light.

These two older children, as shown in the two photos above, are also on the rotating platform, sitting
on stools of comfortable height for them. After taking the pose of the girl in the photo on the left, a
slight turn of the platform can bring her front view of the face to the camera for a variation. Likewise
of the boy. He is in a masculine composition, and after taking this front view of his face, the platform
may be used to turn either one or the other side views of his face to the camera.
During my usual brief pre-sitting evaluation of this child, I could not overlook the quiet charm of what

she was wearing, and decided to pose her as you see in this photo, including hands and the styling of
her dress. The prop her hands are resting on is the back of a dark velvet upholstered chair, which I use
very often in three-quarter length poses, not only of children as in this portrait, but also of men and
women.
However, when children of different heights are placed behind this prop (back of the chair) to be
posed in this manner, they each require the prop to be of proper height for the hands to rest there
comfortably. Simple solution: The child is placed on one or more wood blocks to achieve the
necessary height relationship for posing the hands.
These blocks of wood are used in a number of ways. Adding one or two blocks to a stool to gain seat
height when necessary. Placing a block on a chair when you want someone to appear taller. Standing a
child on one or more blocks to alter the child’s height in relation to a prop. Or adjusting the height
between children who are standing, for a closer relationship between their faces for a close up.
The blocks are obtained by cutting a 2x12 inch board in to 14 inch long pieces. A good quality light
weight wood, such as redwood, is best for that purpose. The blocks should be finished off and stained
in a dark color to match the posing stools.
The next four photos show a step by step progression, of how the two children shown in the first photo
(#24) are brought together for a close-up head and shoulders pose (photo #27).

First, the oldest child stands with a slight turn of the body to her right. Then standing the younger
sister on blocks to bring her face up to whatever height relationship you want to achieve, as shown in
photo #26. And when she is standing on the blocks at your chosen height, a slight turn of her body,
also to her right so their bodies are parallel, you bring them together, as illustrate in photo #27.

The portrait on the left is the pose as it was arranged in the group of four photos above. But I wanted
the portrait to project a more realistic age relationship between these two sisters. All I did to achieve
that in the portrait on the right was to remove one wood block under the younger sister.
Actually, there are three sisters. Note how the close up portrait of the three lovely faces projects an
instant awareness of the actual age relationship between them, arranged with the aid of the wood
blocks, photo #31 below.

And below is the actual portrait I made of these three charmers for the family.
The pose is arranged on the platform (4 of the blocks combined) rather than on the floor. That allows a
convenient working height of the camera and control of the horizon. The indication of the age
relationship between them is achieved by using stools of different heights.

CLOSING COMMENTS and RELEVANT SUGGESTIONS
A reminder: I stated that my posing approach in portraying children is the same as for adults. Every
pose is arranged in either the masculine or the feminine composition. If you need to, you can review
my detailed step by step posing instructions in the four chapters dealing with Posing Men and Posing
Women.
This chapter on Posing Babies and Young Children, is mainly a "show and tell" on how the various
poses throughout this chapter are arranged with the aid of PROPS.
Relevant suggestions: After studying how these portraits are arranged, I suggest that aside from my
comments, you return to each of the portraits to study the following: Choice and coordination of
clothing. Background. The use of hands. Tonal coordination of everything within the picture area. And
portrait lighting.
Index

Chapter 11 Posing Couples
Introductory comments: The illustrations and instructional commentary of this chapter only show
and explain, how to arrange a variety of poses of a Couple, in a traditional classic style. But not how I
pose individual figures. You need to know that before starting this chapter. Chapters 4, & 5, Posing
Men and chapters 6, & 7, Posing Women provide that information. If you had already gone through
them, you understand my arrangement of the figures in either the Masculine or the Feminine
composition.
Posing a Couple in Full Length
I begin by showing this full length arrangement of the couple, below in photo #1. I’m sure you must
be familiar with this particular pose, because it seems to be a popular way of arranging couples at
school proms, as well as at weddings. The only point of interest in this pose, the couple’s faces,
occupy only a small percentage of space in the picture area, and very little seems to be accomplished
by showing the subject’s bodies in full length.
Photography, as a communicating medium makes visual statements, and the function of a portrait is to
make a meaningful statement about the people we photograph. Here, the statement about this couple,
as shown with their bodies turned sideways, tell us nothing about the shape and form of their figures,
and turning the subject’s bodies sideways is definitely not the way to pose a couple in full length.
Therefore, let’s start over, look at the next two photos, and meet the couple, standing with bodies

facing squarely to the front in photo #2 on the left.
You now see the total couple, not just faces, and you can proceed to arrange them by applying the
posing guidelines detailed in the Posing Men and Posing Women chapters. Following those posing
instructions, you can, in just a few brief moments, transform the two figures in the photo on the left
into the elegant arrangements, as shown in the photo on the right, by directing them to position their
feet on the floor as shown in this photo, also detailed in the chapters on posing. That automatically
turns their bodies in a slight turn to their right, creating a near and a far shoulder. The young lady is
now in a pure classic feminine pose, and the young man is in a masculine pose. Also, as detailed in the
chapters on posing, you have instant control of the amount of body turn by each of them, by a mere
slight turn of the back foot one way or another.

Photo #4 above, shows how the two figures properly posed, are brought together to form this classic
full length portrait of the couple. The natural unaffected tilt of the heads toward each other is
automatic, when the feminine and the masculine arrangements are brought together in this manner.
Indeed, the key to this classic arrangement is that both bodies must be turned in the same direction in
exact parallel with each other. This pose can not be arranged when the couple’s bodies are brought
together facing each other, as so many photographers seem to be doing.
Compare this portrait of the couple with the one in photo #1 on the right. This portrait, in addition to
the main point of interest, faces and expressions, also offers a complete view of the couple’s figures,
how they relate to each other, and the garments they may be wearing. This classic arrangement is ideal
for creating elegant formal full length poses of a Bride and Groom, other couples in the wedding
party, school prom couples, or couples at any other dress-up functions where showing the garments is
important.

Another full length arrangement of a couple is shown here. The woman is seated while the man
remains standing. However, note that in this arrangement their bodies are not parallel. Instead, she is
arranged in a classic seated feminine composition facing in towards him, and he stands in a masculine
composition facing in toward her.
They are arranged that way in both of these photos. But while the photo on the left shows the usual
arrangement of the man positioned behind the woman and resting his hand on the back of the chair,
the photo on the right shows my somewhat different arrangement of the same pose. I bring the man
forward to where both bodies are in the same plane, with his hand now resting on her back, because it
is too far for his hand to reach the chair back from his forward position.
You have an interesting comparison here. When the man and the woman are posed with their bodies in
the same plane, as shown in the photo on the right, both subjects receive equal attention, and the
ultimate result is a truly unified portrait of a couple. But when the man is positioned behind the
woman, as shown in the photo on the left, she receives more attention, and that seems to create an
undesirable feeling that the man is less important. Thus, although the man and the woman are arranged
in precisely the same masculine and feminine poses in both photos, my recommended arrangement of
placing the bodies in the same plane, as shown on the right, creates the most effective portrait.
Posing Couples in Close-up
Next, we will discuss my particular approach to arranging couples in a classic close-up pose. And you
will see how this one arrangement offers a variety of poses. Next, photo #7, shows two adjustable
height posing stools used in arranging that pose.

These stools provide a very convenient means for controlling the relationship between the faces, and
their placement in the composition. You will see how these stools are used as we go along.
Beginning an arrangement of a close-up of a couple, the woman is seated first on one of the stools,
adjusted to provide her with a comfortable seat height. The second stool is then placed on the side next
to her, and the man sits straddling the stool with one leg behind the woman, and the other leg in front.

I removed the woman from the stool in the photo on the right, to show how she is actually sitting
between his legs. Next photo shows how they are brought together, and we’ll now discuss the step by
step details of arranging this pose.
Note the following as you study this illustration in photo #10. The woman is seated in a feminine
composition with her body in a very slight turn to her right. She turns her head to the front and tilts the
head toward that shoulder. The height of the stool the man is sitting on is adjusted to achieve a desired
height relationship between the two faces. A good starting point is to bring his face up to where his
mouth will be in an approximate alignment with her eyes, as shown in this photo. When you reach this
point in your arrangement, you will find that because his leg is behind her, his body will be turned
away too much to his right.
At this point you must have him turn the upper part of his body back more toward the front, until his
body is exactly parallel with her body, and his face is also turned to the front. Now, you can lean him
to bring the two bodies together, as illustrate here. Note how his body lean creates a low far shoulder,
and when you complete the masculine composition by placing his head perpendicular to his shoulder
line, you automatically achieve the tilt that brings the two heads together, as shown here. Next, photo
#11 shows the finished result of this arrangement.

A lovely classic close-up portrait of a couple. The placement of the two faces in this portrait was
planned specifically for a horizontal format, as illustrated here. Next, photo #12, shows a very
effective variation of the same pose. Here the placement of the faces is changed to fit into a vertical
format, simply by raising the stool the man is sitting on a bit higher. As you see, this method of posing
with adjustable height posing stools provides complete flexibility for placing faces into any desired
height relationship, for either vertical or horizontal arrangements of the classic head and shoulders
portraits of couples.
Single Arrangement offers Variety of Poses
Am interesting and important feature of my particular approach to posing is that, each arranged pose
may be photographed from one to five different angles, without changing the original arrangement.
Therefore, each completed arrangement offers an instant choice of one to five poses that you can
examine, as you step in front of each of the subjects’ five facial views. Obviously, as you appraise the
available choices, you will surely photograph only the poses which you deem to be effective,
depending on their facial views, etc.. Then, surely each pose you photograph warrants several
exposures with changes of expression. All that variety from just a single arranged pose. A reminder:
This concept is fully explained and demonstrated in several preceding chapters dealing with posing of
Men, Women, and Children. Next photo #13 shows how I dealt with the problem of relating each view
I wanted to photograph to the camera.

I introduced this turn platform in previous chapters for arranging head and shoulders poses of men,
women, and children. Now, when I place the two posing stools on the turn platform to arrange the
couple, I can relate any desired angle of the arrangement to the camera while the pose remains
unchanged. The next three photos show the same pose from three different angles, related to the
camera by a simple move of the turn platform. The only change was in the repositioning of the key
light.

The next two photos are still of the same pose. But the heights of the stool the man is sitting on were
adjusted, in the pose on the left slightly higher than on the right, to achieve that difference in the
height relationship of the faces, as you can see.

In photo #17 on the left, we again have the classic arrangement showing the two front facial views of
the couple in a vertical format. The pose is arranged on the turn platform. And after making several
exposures of this basic front view, a quick appraisal of the other four available angles of this pose,
disclosed the lovely pose shown here on the right. A simple move of the turn platform related the new
pose to the camera, while the actual arrangement remained unchanged. I then repositioned the key
light, and made several exposures of the new pose to obtain a variety of expressions.
Closing comments: I used this couple as models in this chapter, to show and explain, how to arrange
two people together as a "couple", by following my approach to posing people only in masculine and
feminine compositions. And to show a particularly unique feature of this method of posing: Every
completed arrangement can be photographed from five different angles, allowing a variety of
poses from each single arrangement.
Note: Most people, I believe, consider the term "couple" to mean Man and Wife, Bride and Groom,
Engaged Couple, etc.. Actually however, my posing approach applies when posing any two people
together, including women and children.
You might find the next three sets of photos interesting. Each set shows on the left how the models
were posed. And on the right, exactly the same pose with two different people.. The first set shows a
Bride and Groom, posed exactly the same as the models on the left.

The second set also shows the models on the left, and a client couple on the right.
The third set also the models on he left, and the two children in exactly the same pose on the right.

Final note: If you arrange two people in a head and shoulders pose by bringing them together with
bodies facing toward each other, that arrangement could not be photographed from any other angle.
The option of photographing a head and shoulders pose from five different angles, without
changing the arrangement, is available only when the subjects are posed with the bodies parallel
facing in the same direction, as explained in this chapter.
Index

Chapter 12 Zeltsman Bounce Light System, Fill Lighting
Around 1957, Eastman Kodak introduced their Type C color process. After attending several of the
Kodak seminars to learn the details, I decided to get into it. I took a private course from a New Jersey
photographer who was a very fine color technician. He taught me how to process the film and make
color prints. I was on my way!
At that early time, most photographers approached the subject of direct color in portraiture by slipping
in a few exposures on color film during a B&W sitting. But, my wife Martha, and I, who incidentally
were the entire staff of the Zeltsman Studio throughout all the years, decided to go into color full time.
We began by switching B&W sittings into color, and by booking and selling sittings in color. Within 8
or 9 months we were close to 100% in color. I equipped the darkroom with everything necessary for
complete in-house production of our color work. I did my own color printing right from the start. Our
color portrait studio was in operation for over 30 years, until we retired in 1989.
What has all that to do with my bounce lighting? You’ll see. More history! The Kodak Co, was
becoming aware of a lack of uniformity in the quality of the color prints coming from the labs. They
decided the problem was caused by photographers who were making color negatives the same way as
B&W negatives. Indeed, the wide range of tolerance we are accustomed to in a B&W negative, does
not work the same in color. Kodak people knew that in order to produce color prints of uniform
quality on their Type C color paper, the shadow density and highlight density of the negative must be
controlled to fit the scale of the Type C paper.
Kodak introduces a new concept for controlling
the densities of the negatives to fit the scale of the new Kodak Type C color paper
Two top Kodak photographers began appearing on National, State and Regional Convention
programs. They demonstrated the concept of exposing for the shadows, and printing for the
highlights. That involved setting up a stationary fill-light that remained in the same position
throughout the sitting. A meter indicated a necessary exposure for detail in the shadow areas of the
negative., and that exposure remained the same for the rest of the sitting. That took care of exposing
for the shadows. Then, the key light was switched on, and a desired lighting pattern added to the
subject. The shadow areas had already been lighted., and while the camera exposure remained set for
the shadow area, the key light was set to a sufficient power to establish the highlight densities on the
negative - a stop or stop and a half above the shadow density of the negative. Prints were then made
by exposing for flesh tones, and that took care of printing for the highlights.
There is more: While the fill lighting and the camera exposure always remain the same, you can
move the key light closer or farther from the subject for a variety of effects. That in turn, changes the

highlight densities on the negative. Printing for these densities results in a variety of contrast ratios.
It all made sense!
When the two Kodak photographers demonstrated all that, they used two lights to establish the fill
lighting. They did that by placing a light on each side of the camera facing the subject. The concept
made perfect sense to me. It assured excellent uniform quality in color prints. But there were
problems. It got a bit crowded having those two lights there. Also reflections in people’s eye glasses.
Or too many catch- lights in the eyes.
Yet, as a color printer myself, I knew that was the way to go. All I could think of was EXPOSE FOR
THE SHADOWS AND PRINT FOR THE HIGHLIGHTS. The Kodak use of two lights at the
camera as fill lighting never caught on. But that is when my concept of Bounce Lighting as a
permanent fill light in the camera room began to emerge.
How BOUNCE LIGHTING was installed and used in the Zeltsman Studio
as a permanent non-movable fill lighting
Note: The following information dealing with the installation, the amount of light and the
equipment used, applies only to the size and dimensions of my camera room. Some adjustments
may need to be made within a facility that differs from mine.
The dimensions of my camera room were: 18 ft wide by 26 ft long. The ceiling was 10 ft high. Walls
and ceiling were painted white. Not a cool white, but a warm white, like egg shell.
The Installation
Six lights (strobes) in 16 inch reflectors, attached to a 2 inch pipe (obtained from a plumbing supply)
are permanently installed below the ceiling, 14 ft away from the back wall (background). The lights
are directed at the ceiling, but tilted slightly toward the background (in front of which the subjects will
be posed). The bar is fastened to the side walls at a height to bring the rims of the light reflectors
within 8 inches from the ceiling.
Three 800ws strobe power packs are installed on the wall (off the floor), providing 400ws of power in
each of the 6 lights, a total of 2400ws of reflected light. The cables of the 6 lights are taped neatly
along the pipe running toward the power packs on the wall. There is nothing to clutter the camera
room floor.
I used this system of stationary fill lighting in a full range of portrait sittings for
over THIRTY years! Here is why....

Ideally, fill lighting should appear to be non-existent. Shadowless, non-specular, and certainly non-
directional. Like outdoors on a completely overcast day, or on a bright day in deep shade. That is
exactly the kind of light my Bounce Light System delivered. Nothing could be better. And the
following test exposures must be made to determine a permanent correct exposure for shadow detail in
the negative.
The tests are made using the film you normally use for all color portrait sittings. A model, man or
woman, good complexion and skin tones, dark hair, no beard on man. Definitely wearing very dark
clothing.
Man or woman, arranged in a head and shoulders pose showing the two-thirds view of the face.
Important: The size of the face on the negative must be at least 1 inch or larger, and the dark clothing
must also be included on the negative. That may not be possible on a square format. I know it can be
done on a vertical portrait format.
First test: When the pose is arranged, the model’s eyes are directed to an appropriate spot in the
direction he/she is facing. He/she is asked to maintain that throughout the test. The bounce lighting is
turned on. No other lights are used during this test. The camera is on a tripod. The subject is properly
framed. The lens aperture is wide open. The first exposure is made at that setting. Additional
exposures are made at half-stop increments up to F/22. The film is processed. No prints are needed. It
is important to mark the f/stop used exposing each negative in the corner of every negative.
Using a proper viewing box (one designed for viewing and judging negatives), the test negatives (with
the f/stop markings in the corners) are laid out on the box in the order of exposure - from wide open to
f/22. Look at the negatives spread on the viewing box in the order the exposures were made, the heavy
densities on the left, and going all the way to the light densities on the right. Begin on the right with
the lightest density. Examine each successive frame to the left, looking for shadow detail in the
deepest blacks (clothing, hair). When you get to that frame, look at the next one on the left. The f/
stop marked in he corner of that negative becomes the permanent exposure for all the sittings
from then on.
My permanent exposure, by choice.....
My permanent exposure for all sittings throughout the years has always been f/18. By choice. I wanted
to be able to handle every conceivable kind of sitting without changing the fill lighting. That is why I
needed 2400ws of power for the bounce lighting installation.
In addition to the fill lighting equipment up and out of the way, I used 5 light units on the floor of the
camera room. Two lights with 16 inch reflectors, two spotlights on boom stands, and a background
light. Each light an independent unit, on casters, and a choice of power settings of 25ws, 50ws, 100ws
and 200ws. All interconnected by Photocells, so there were no distracting interconnecting cables
cluttering the camera room floor.

I’m relating all of this in the past sense, since it is well known that I am retired now. The following is
not intended to become a demonstration of my portrait lighting techniques. It is meant to demonstrate
how to perform Test #2. The purpose of this next test is to bring the highlight density on the negative
to a necessary proper balance with the shadow density, to fit the scale of the paper.
Test #2
One light with a 16 inch reflector (to be used as a key light) is prepared by attaching a 7 ft long string
to the light. Pieces of tape used as markers are attached to the string a 12 inch intervals, from the end
of the string up to 3 ft from the lamp. The test will be made by making exposures at these distances
between the light and the subject.)
The same model used in the first test (wearing the same clothing) is placed in the same pose. The
camera is positioned, the pose is framed as before, and the camera is set at the exposure indicated by
Test #1. The exposure is kept the same all through Test #2.
Switch on the bounce lighting. Switch on the key light with the string on it. Set power of the key light
to 100ws. With the model ready and the eyes properly placed, the key light is positioned at the end of
the string and brought to the necessary height to achieve the desired pattern of portrait lighting on the
subject’s face, (as described in Test #1) Note: Catch lights in the eyes and nose shadow indicate how
high the light has to be positioned at that distance from the subject (pretty high).
At this time also switch on and use the hair light and the background light. Both these lights are also
used at 100ws of power. An exposure is made now with the key light positioned at each of the
distances marked on the string, starting at the 7 ft distance.
Important: For the test to be meaningful, the lighting pattern established on the model’s face must be
kept precisely the same as the distance between the light and the subject is changed. That, of course,
provides an exact guide line to where and how high the key light must be positioned. One other item
to assure a successful test is that, each time the key light is positioned and a desired lighting pattern is
established (at each desired distance), the full output of the light must be directed at the pose, and not
be feathered in any direction.
Evaluating the test
After everything is done properly, the highlight densities of the five processed negatives will vary. A
specially made 8x10 print of each negative is now needed to evaluate the test. You can not use a
normally made lab print averaging exposure. The need here is for an 8x10 print of each negative,
exposed only for the highlight density of the face of the subject, disregarding completely what
happens in the shadow areas.
Exposed in this manner, the flesh tones of the subject’s face should show good quality, regardless of

the contrast of the print. That is what is needed. In other words, we need a straight print made of each
of the five test negatives, exposed properly only for the flesh tones, regardless what the rest of the
print looks like. The only way to get a lab to do that, is to talk to them and explain that it is an
important test. If you explain to the lab that it will later, greatly facilitate you and them to make
quality prints simply and quickly from all of your portrait negatives, the lab may agree to do it, albeit
at a special price. Since I always made my own color prints, I had no problem.
Evaluating the results of the 2 tests
Assuming that you now have the needed five 8x10 prints (with good quality flesh tones, in five
different contrast ratios), you proceed as follows: Lay out the five prints in a row, with the darkest on
the left, graduating down to the lightest contrast ratio on the right. If you consider this print too flat,
discard it. If you consider the next low contrast ratio on the right acceptable for high key work, cut the
string on the light to the length that achieved that result.
Next, starting at the print on the left, if that print is too contrasty and unacceptable, remove the marker
from the string at three feet from the light. Leave the markers that indicate the distances for the high,
medium, and low key portraits.
When I originally set up my lighting system and ran these tests for myself, I did indeed come up with
three beautiful prints in three different contrast ratios. I used these distances to produce a variety of
effects in my portraiture for many years.
FACT: Using this method of lighting provides absolute assurance of negatives constructed properly to
yield excellent color prints consistently. It is a foolproof method for creating desired contrast ratios
merely by changing the distance of the key light from the subject.
Important additional points of Information: The set up used in this test for combining the movable
key light with the stationary fill lighting, is valid only for head and shoulders and 3/4 length poses.
What about full length poses and groups? Obviously, the key light has to be moved to a farther
distance to cover these poses. The answer is simple: The fill lighting is always there. When the key
light is positioned at the farther distance to light the pose, the power of the key light is changed from
100ws setting to 200ws.
Index

Chapter 13 Portrait Lighting - Part One (Individual subjects)
Note: The information in this chapter deals only with my particular approach to portrait lighting,
rather than with an overall coverage of various other lighting methods.
First, I must explain why and how my approach to portrait lighting was developed. Watching
competent photographers demonstrate their particular lighting techniques at Conventions and
Seminars, I became aware that each photographer’s method of lighting and choice of equipment
varied considerably, depending on whether their specialty was portraiture of men, women, brides, or
children.
I realized that each photographer perfected a method of lighting best suited to his/her specialty.
Because it seemed impractical to me to adopt and use several different methods of lighting and
equipment that would be needed to handle the full range of my sittings, I proceeded to develop and
perfect a single universal method of portrait lighting in the studio, equally effective for portraiture of
Men, Women, Children, Brides, and Groups.
My method simply simulates the natural outdoor concept of lighting. First, the entire posing area in
the camera room is flooded with overall soft lighting that surrounds the subject. And then by a judicial
placement of a directional key light, a desired shadow pattern is created to bring out and emphasize
the shape and form of the subject.
This simulation of outdoor lighting offers two distinct advantages: One, it provides the
roundness and three dimensional quality of natural outdoor lighting in studio portraiture. And
two, when properly balanced, this method provides absolute lighting ratio control. Every
conceivable lighting effect can be achieved with this single method, depending on where the key light
is positioned, at what distance from the subject, and how the negative is exposed.
Electronic Flash Equipment in the Camera Room
Electronic flash equipment falls into two categories, and you should certainly be aware of the
difference between them. The first category utilizes the concept of a single power pack providing
power to several lamps. That means all the cables must reach out from the power pack to where the
various lamps are positioned, creating considerable clutter on the camera room floor. But more
importantly, the entire available power is distributed equally to the number of lamps plugged into the
power supply, and it is not possible to control the intensity of each individual light separately as
needed, other than by varying the lamp to subject distance. That is not particularly desirable because it
changes the specular quality of the light.
In the second category, each lamp has its own power supply, and can be switched on only when

needed, without affecting the power output of the other lamps. Moreover, each individual unit offers a
variety of power settings, and only the amount of power needed can be used, while maintaining a
desired lamp to subject distance.
Also, because each individual unit is equipped with a photocell, there are no interconnecting cables to
clutter the floor, and each separate light can be plugged into an electrical outlet conveniently located
near its desired position.
One additional important feature of this type of equipment is its modeling light within the flash tube of
each lamp, that show the exact lighting pattern, you will obtain when the flash is set off, allowing you
to visually position each light accurately where needed.
My lighting equipment is of this second category, consisting of the following: Two light units with
16-inch reflectors, equipped with barn doors. Both are used as key or modeling light, without
diffusers. Two hair light units on booms, and one background light. A bounce light system, consisting
of three power packs servicing six lamp units with 16-inch reflectors
How I use this equipment
I use the light unit with the 16-inch reflector as a key light, without diffusion over it. And because my
method of lighting depends on total intensity of the key light directed evenly over the entire subject,
when the key light is in position, I stand behind it and ascertain visually that the full light output is
directed at the entire figure of the subject, regardless whether I intend to photograph just the head and
shoulders pose, or a three quarter length pose. The reason behind this procedure is to eliminate
variables, and to assure consistency in a pre planned contrast ratio of either pose.
The hair light is a small controlled light source on a boom Its function, obviously, is to light the
subject’s hair. The most effective position for this light is above and behind the subject’s head. But
always on the same side as the key light. This placement precludes any possibility of distracting and
undesirable light spills to appear on the shadow side of the face. Since I have two of these units, I can
switch on one or the other, depending where the key light is positioned.
Next the background light that is small enough to be concealed behind the subject, is positioned to
provide evenly distributed lighting over the background, creating just a gentle glow directly behind the
important area in the composition.
Finally, I remind you that the key lighting and hair and background lighting is added to an already
switched on fill lighting. (For complete details of the Fill Lighting Installation, see Chapter 12. It will
provide you with details of the installation, and how it is used combined with the portrait lighting
patterns in this chapter.
Now I will explain how to achieve effective portrait lighting patterns with the key light, and show and

identify each lighting by its known name. Please note: The terms used in naming each lighting as we
go along have no special significance, other than for the purpose of identifying each lighting pattern.
LIGHTING IN PHOTOGRAPHY
In photographic terms, lighting is not mere illumination, but rather, a light that performs a special task.
Using the main light source in a strategic relationship to an object, so its direction will create a shadow
pattern, that will emphasize the shape and form of that object. That is the primary function of lighting
in photography.
In portraiture, where the subject’s face is of predominant importance, the main light source is
positioned where its direction will create highlight and shadow patterns to bring out the shape
and form of the face. That light source is referred to as the Key Light.
These two photos show the conventional approach to portrait lighting. First, the key light is positioned
to establish the desired shadow pattern on the face, as illustrated in photo #1. Then additional lighting
of considerably lesser intensity is directed at the face to lighten the shadows, more or less, as desired,
shown in photo #2. Additional supporting lights like a hair light and a background light are added as
needed. Absolutely nothing wrong with this method of lighting, and surely most people shall and will
continue to use it.
My method of lighting in our studio is actually a reversal of the normal conventional approach. First,
the low density of the negative is established by the fill lighting, as illustrated in photo #3. Then, the
key lighting of proper intensity is added to the already existing fill light foundation, to form a desired
portrait lighting pattern, as shown in photo #4.

Why this method? Using a constant stationary fill lighting that covers the entire posing area, means
that all poses, close up, mid distance, or groups, are exposed at the same lens aperture, assuring
consistency in shadow density of the negatives, and absolute control of contrast ratios. Result? Top
quality prints.
Regardless which of the two above described methods is followed, the several portrait lighting
patterns I will now describe, apply and depend on proper positioning of the key lighting. But in order
to know how to position the key light, it is essential that you learn to see light, and learn to recognize
the different portrait lighting patterns and effects as they appear on people’s faces, regardless of the
type of light source used, or its position or distance from the subject.
Portrait Lighting Patterns
Important: The lighting equipment must be the type that provides modeling lights, allowing to
visually establish desirable lighting patterns on a subject’s face. The position of the key light is
therefore controlled entirely by whatever portrait lighting pattern you choose to establish on the
subject’s face. (That should end the controversy about where the key light should be positioned in
portraiture).
Very important to understand the following:- First, you learn how to position the key light, to
achieve the specific lighting patterns explained and illustrated here. But, when you work on
location using existing light as a key light, the approach is reversed. You can not move the key
light, and must, therefore, move and relate the subject to the light, to achieve the desired

portrait patterns.
The next 3 photos illustrate how a subject’s facial features are shaped by the placement of key
lighting. That can only be done by looking at the face while manipulating the key light, and placing it
where you achieve the desired effect.
Photo #5 was lighted by placing the key light directly in front of the subject’s face, at his eye level.
The result is a flat lighting that merely illuminates the face, but fails to establish any appreciable
dimension. Yet just raising the key light a few feet above his eye level (still in the same position),
several important dimensional changes are achieved, as illustrated in photo #6. Note how the new
direction of light causes the subject’s eyes to recede back into the sockets. How the nose projects
forward, the curvature of the chin is more pronounced, and the general appearance of the face is more
three-dimensional.

But note how this key light position shaded the subject’s eyes, causing the eyes to appear dull and
lifeless (#6). And now compare this with the effect in photo #7, showing detail and sparkle in the
subject’s eyes, while the three dimensional effect of the facial features remains unchanged. The
improved effect shown in this photo was achieved by lowering the key light just enough to allow the
light to reach the eyes.
A point to remember: While the key light is almost always directed at the subject’s face from above
in portraiture to achieve vertical modeling, the height of the light must be restricted to a point where it
will reach the subject’s eyes, and cause the small white spots, that we call catch lights, to appear in
each eye as shown in this photo.
Catch lights represent an essential part of good portrait lighting, because they give the eyes a life like
quality and project the subject’s expression and personality. It is important therefore to position the
key light at a height that will assure a catch light to appear in each eye. We’ll study the various portrait
patterns now that you must learn to see and recognize.
Butterfly Lighting

Lets review the lighting pattern in photo #8. The key light is positioned to light the front view of the
subject’s face, then raised above eye level to achieve vertical modeling of the facial features, but with
light reaching the subject’s eyes and causing catch lights to appear. This pattern of portrait lighting is
commonly referred to as "Butterfly Lighting".
But I must point out three negative aspects of this particular lighting pattern. First, because the
key light is directed at the front of the face and from above, creating vertical shadows, only a
vertical modeling of the facial features is achieved. Thus the face remains lacking in lateral
modeling. Secondly, the frontal key light position always results in a distracting and undesirable
light spill on the person’s ears. For example, note the distracting highlight on the small exposed
portion of this subject’s left ear in this photo. Finally, this lighting pattern places catch lights in
the 12 o’clock position, a least desirable place for catch lights. Clearly, the pure Butterfly
Lighting as it is shown here offers limited results, and I never used it in lighting an individual
subject.
Modified Butterfly Lighting
But by lowering the key light a bit from its original Butterfly pattern position, and moving it off to the
side away from the camera, a very effective portrait lighting is achieved, as shown next in photo #9.

Study this illustration, and note the following pattern changes. As compared with the original Butterfly
Lighting in photo #8, this new pattern in photo #9 shows the nose shadow moved to the side facing the
camera, and became longer, forming a small loop. Also the side of the nose and the side of the face are
infinitely more three dimensional. And note especially how this lighting brought out the true shape
and form of the subject’s facial features. Finally, the catch lights in the eyes moved from the 12
o’clock place to a more attractive 11 o’clock position. I identify this pattern as Modified Butterfly
Lighting.
Broad Lighting and Short Lighting

(We’ll discuss now two types of lighting commonly referred to in portraiture as Broad Lighting and
Short Lighting. These terms apply only when the subject’s face is photographed in either one of the
two side facial angles.)
When the subject’s face is turned to the side as shown in photo #10, the broad portion of the face as
measured from the back of the ear to the tip of the nose faces the camera, while the opposite side of
the face becomes the short side of the face. When the key light is directed at the broad side of the
face, as shown in this photo, the shadows fall away from the camera, and this lighting pattern is
identified as Broad Lighting.
And when the key light is directed at the short side of the face, as shown in photo #11, the shadows
form on the broad side of the face, and this lighting pattern is identified as Short Lighting.
The lighting patterns shown in these two photos illustrate the difference. First, as you examine the
Broad Lighting effect on the subject’s face in photo #10, you realize, the lighting is quite flat, and fails
to create any appreciable modeling of the subject’s facial features when the key light is directed at the
broad side of the face.
But when the key light is directed at the short side of the subject’s face, as shown in photo #11, the
shadows form on the side facing the camera, modeling the shape and form of the subject’s facial
features in a three dimensional effect. Also, this lighting places catch lights in the eyes on the side
where the actual direction of the light is coming from.
Surely you recognize the lighting in photo #11 as Modified Butterfly Lighting , "that is Short
Lighting."

After comparing the two lighting patterns in these photos, you will perhaps conclude, as I did, that
Broad Lighting is not an effective portrait lighting. I never used it in my work. I believe that Short
Lighting Portrait Patterns are the best choice for Formal Classic Portraiture. And we’ll proceed now to
a look at other patterns of Short Lighting.
Split Lighting
The pattern of lighting we’ll discuss now is logically referred to as Split Lighting, because the key
light is positioned to light only half of the face, up to the bridge of the nose.
When applying this pattern of lighting to a front view of the face, the choice of which side to light is
determined by the pose. But in side facial views, the key lighting is applied to the short side of the face
up to the bridge of the nose only, while the entire broad side of the face remains in shadow, as
illustrated in photo #16 below. Then, that special luminosity in the subject’s eyes in photo #17 is
achieved by adjusting the height of the key light, as follows: First, lower the key light all the way
down to the subject’s eyelevel as you light the short portion of the face only. Then after anchoring the
subject’s eyes to a point where they appear properly centered as viewed from camera position, begin
to move the key light very slowly in the direction toward the camera, causing some of the light to spill
across the upper curvature of the nose, until a catch light appears in the eye on the shadow side of the
face..
The ultimate result is illustrated in photo #17. A very effective portrait lighting, with a special sparkle
in the eyes, and the only portrait lighting where the key light is not directed at the face from above.

Consequently, because the key light is directed at the face at eye level, the catch lights appear in about
9 o’clock position. Of course, when the opposite side of the face is photographed, the lighting is
reversed, and the catch light appear in about 3 o’clock position. The Split Lighting is very effective
for bringing out the character of certain faces in a variety of contrast ratios, and it is also
particularly effective when a subject is photographed wearing a hat or a cap with a visor.
Forty Five Degree Lighting
(Twin Key Lights)
Photo #18 shows still another short lighting pattern. It is identified as the Forty-Five Degree Lighting,
simply because the key light is directed at the front of the subject’s face from a forty five degree angle.
This lighting pattern is recognized by the triangular highlight that appears under the eye on the shadow
side of the face.
It is achieved by first, positioning the key light to form the Modified Butterfly Lighting pattern on the
face, as shown in photo #19. Then raising the key light to a higher level and moving it still farther to
the side away from the camera, until the shadows on the broad side of the face close in to a point
where only a triangular highlight remains under the eye, as in photo #18.
The result, as you see here, is a strong, interesting lighting effect. But when the key light is positioned
where needed to create this lighting pattern, the subject’s eyes appear shaded and dull, because the
light fails to reach the eyes from that position, and the subject’s expression remains obscure when this
lighting pattern is used in the manner shown in photo #18.

Note however, how the Modified Butterfly Lighting in photo #19 brings a sparkle to the eyes and
projects the lifelike quality of the subject’s expression. Comparing the lighting patterns in these
two photos clearly indicates that, when a desired portrait lighting pattern must be achieved
using a single main Key light, the Modified Butterfly Lighting, as shown in photo #19, is the
most effective choice.
Twin Key Lights
However, a very effective Forty Five Degree lighting can be achieved by adding, what I call a
secondary Key light, as I will explain now. First, the primary Key light is positioned to achieve a
Forty Five Degree lighting on the subject’s face, as shown in photo #20. The unsatisfactory aspect of
this lighting is, of course, the lack of detail and the resulting dull effect in the subject’s eyes.
Then, a secondary Key light is brought in, and placed where it will create a Modified Butterfly pattern
on the face, thus placing catch lights in the eyes, as shown in photo #21. But this secondary light must
be of less than half the intensity of the primary Key light, as reflected in the much darker flesh tones
of this photo, allowing the Forty Five degree lighting pattern created by the primary Key light, to
remain the dominant lighting when the two lighting patterns are combined, as shown in photo #22.
Photos 20, 21, and 22 shown below, illustrate above paragraphs.

I’ve always used this twin Key light created Forty Five Degree pattern of lighting for head and
shoulders and three quarter length poses of men, as well as of women, in appropriate contrast ratios.
And I always used the Modified Butterfly lighting when photographing Children and Brides. I also
used Split Lighting for occasional dramatic effects.
Clearly, these portrait lighting patterns are equally effective with male or female subjects, and children
too. Varying the contrast ratios of these patterns as they are applied to men, or women, or children,
allow you to manipulate your lighting effects to fit your subject.
One final comment about positioning the key light: This is a subject long overdue for discussion
with developing photographers in search of knowledge. They attend programs and demonstrations of
portrait lighting, and from what I’ve seen, their attention appears to concentrate on where and how the
speakers position their lights.
Learning what portrait lighting is, and what it does, begins at the other end. It begins by becoming
aware how certain groupings of highlight and shadow patterns bring out the three dimensional quality
and shape and form of a subject’s facial features.
You need to learn to see and recognize the specific details of each lighting pattern we discussed,
as it appears on the subject’s face. Then you will know exactly where to place the key light to
achieve that effect. When you learn to control the placement of the key light by watching its
effect on the subject’s face, you will be able to position it at a proper height at any distance from
the subject, depending on the pose.

Index

Chapter 14 Portrait Lighting - Part two
In Chapter 13, I introduced, identified, explained and illustrated three Short Lighting Portrait Patterns
as applied to individual subjects. Now, the topic of this chapter, is,
Lighting of Multiple Subjects
Clearly, the previous chapter was devoted entirely to the what , why, and how, of the three most
effective portrait lighting patterns, and how to manipulate the key lighting to achieve these patterns on
the faces of individual subjects. But, when lighting multiple subjects in groups of two or more, it is not
possible to relate the same pattern to both faces.
An occasional exception is when heads are facing the same direction, as in photo-45, and the faces are
then lighted effectively with Short Lighting, to illustrate the exception Photo-46 however, is lighted
by front lighting, that is a logical way to light groups, and the Key Light is therefore positioned
on either side of the camera, raised up high enough to achieve modeling.
So far, I concentrated entirely on the Main, or Key light, with no mention of supporting lights, except
for a brief reference to my fill lighting installation. Now I ask you to please study these 14 photos, and
note the following: The people do not appear pasted to the background. There seems to be space
behind them. A background light unit provides that glow on the background. Look at all the people’s
hair. All lighted. Two hair light units provide that lighting.

But most important, look at the overall three dimensional detail in the figures, certainly not the result
of front (key) lighting. This three dimensional effect and detail has nothing to do with the key lighting,
and is there even before any lights are switched on. I remind you now: My bounce light installation
fills my entire posing area, from wall to wall, with absolutely shadow-less lighting, that fully
surrounds whatever subject I pose anywhere in the posing area. (See details in Chapter 12) Key
lighting of proper highlight intensity then provides the modeling.

Although the faces in photo-47 are all directed toward the camera, while the faces in photo-48 are not,
the Key Lighting of both groups is exactly the same.
Obviously the distance between the Key Light and the group may differ, depending on the size of the
group. Because I worked with a stationary fill light, without varying exposures, the power of the key
lighting needed adjusting to compensate for varying its distance from the group. That was not a
problem. For example, photos-49 and 50 were lighted with the key light positioned at the same
distance. Actually, only two distances of the key light were used in the majority of these examples,

and only one longer distance was needed occasionally for larger groups of 12 or more people.
Aside from the lighting, these two images offer a study of two different approaches to posing three
people. Mother and two daughters in a formal full length classic pose. The three brothers in a natural
relaxed portrayal.
Key Light positioned the same distance from the subjects in both photos. Interesting to note the

difference of statement made by these two images. The Quartet ignores you, the viewer, and they are
only in contact with each other. The Couple in riding gear, is communicating directly with you, the
viewer.
Viewing all these images, have you become aware yet, that everyone, men, women, and children,
are all posed in either, what I call a Masculine or a Feminine composition? Chapters 4, 5, 6, 7,
and 10)

And two more groups to review the elegance of those two posing compositions.
Key lighting used to light these images, is a light in a 16 inch reflector, no diffusion, directed at
the grouping at either 8 or 10 foot distance, depending on the size of the group, and raised to a
necessary height to achieve modeling on the faces at that distance. (Power of the key light is
stepped up to compensate for the longer distance for larger groups).
Index

Chapter 15 Traditional Portrait of the Bride
It is interesting to note, although our dress code has changed drastically throughout the last several
decades, to the present day trend of "anything goes" casual wear for all occasions, the wedding dress
code still remains traditionally the same.
The bride of today, just as brides always have done, goes shopping for a bridal gown, styled to reflect
the traditional yesteryear elegance. Regardless where and how her wedding is photographed in today’s
style, one traditional touch ought to remain a part of it: A Formal Classic Full Length Portrait of
the Bride, looking radiant in her elegantly styled gown, for her children, and her children’s
children to see in later years.
Note: The Following illustrations and comments are offered here specifically for creating that formal
classic portrait of the Bride in her gown as she looked on her wedding day. Although the illustrations
used here were made in a camera room environment, these posing guidelines also apply fully
anywhere on location, indoor or out.
Posing the Bride Standing in Full Length
The most effective way to begin arranging a full length standing pose, is to position the subject’s feet
first, as shown in photo-1. As you see, her left foot is in front, toe facing forward. Her right leg is
moved a bit behind, with the toe turned slightly to her right. That turn of her right toe causes her body

to turn slightly to her right, and the turn of the head toward the near shoulder completes this pose. She
is in a precise feminine composition. ((Fully detailed instructions in Chapter 6, Posing Women)
The important point made here is: - Every full length standing pose begins by arranging the
subject’s feet, as shown in this illustration.
Obviously, when a bride’s feet are concealed under the bridal gown, you have no way of knowing
whether she placed them as you directed. I always checked by lifting the gown as shown in photo-2,
and could make corrections if necessary. Note, as I looked at her feet here, I completed the
arrangement by having her drop her weight on to the back foot, and roll her front foot a bit to the side
to cause her knee into a slight bend.
Photo-3 shows now how the position of the feet and the slightly bent front knee sets off the styling of
the gown. Her feet were positioned to show the front of the gown and her figure, and to allow a slight
turn of her head to show the two-thirds view of her face.
Now, note the difference in the position of the toe of her foot in these two photos. Photo-4 shows
the toe facing more forward, and as you see, her figure is now turned slightly more to her right,
and we now see the front view of her face. This is one and the same pose in both illustrations.
Nothing has been changed. It was done simply by directing the bride to turn both her feet as
they were arranged in photo-3, very slightly to her right. Thus, you control the turns of a
subject’s body in full length poses, simply by adjusting the turn of the feet. (Men or Women)

The formal bridal portrait session begins, by arranging the bride in the pure basic feminine
composition shown in photo-5. That, at the very start, provides the most important view of the style of
the gown, the bride’s figure, the flowers, and the veil. The body in this pose is in just a slight turn to
her right, to allow for the turn and tilt of the head toward the near shoulder, showing the front view of
her face.
At this point you take a few moments for a look at this pose from four other angles. Examine the
pose as you look at it standing in front of each of the other four facial angles.

Photo-6 shows what that pose looks like from a position standing directly in front of her right profile.
Photo-7, the same pose, as seen from the position standing directly in front of her left two-thirds view
of the face. And photo-8, same pose, as seen from the position looking at her left profile. You will, of
course, accept or reject the available variations of the basic pose, depending on the styling of the
gown, and the bride’s figure. An integral part of the feminine composition is a slight turn of the
subject’s head toward either one or the other shoulder. That means each of the five specific views of
the face can be photographed supported by one of two different views of the gown.

Photo-9 is the same pose with her head turned toward her left shoulder, showing the left two-thirds
view of her face, and the view of the gown from that angle. Photo-10 shows a reversal of that pose.
The position of her feet is reversed. The left foot moves back and toe turned slightly to the left. Her
weight is shifted on to the left foot, and the right foot moves a bit forward with the knee bent slightly
to the left. Everything falls into place, and the pose is completed by turning her head toward her right
shoulder. Now, as you look at her two-thirds view of the face, it is supported by a different view of her
figure and gown.
Point to remember: The one Feminine Composition provides a choice of 10 different poses: 5 with
the head turned to one shoulder, and 5 more with the head turned to the other shoulder. Each of the
five facial views may therefore be photographed in a choice of two body positions.
That means: When you’ve arranged the bride in the basic frontal feminine pose, you can immediately
evaluate that pose from all available 10 angles, as illustrated above, and choose the most effective
pose or poses to photograph. Then, whatever pose or poses you decide to photograph, make several
exposures of each pose, capturing a variety of expressions.
Almost every wedding ever booked by our studio, included a sitting of the bride about two weeks
before her wedding day, or as soon as her gown was ready. I don’t know whether this still prevails, but
it was customary throughout our area for many years, to have the bride’s photo appear in the
newspapers on the day of the wedding. We needed to deliver glossies in time to meet newspaper
deadlines. And that was also when we made the formal classic portraits of the bride. (Many sold
in framed large sizes for wall hanging)

Interestingly, I used to love to do high key bridals as in photo-12 above. But one day I decided to use a
dark background, I don’t remember why. Perhaps a bride requested it. I then offered brides the choice
of either, since I was able to show them samples of both. And almost without exception, brides chose
the dark background.
I still feel high key bridals are aesthetically more effective. But I also understand why most brides kept
choosing the dark background. Compare the two photos above. I see photo-12 as a portrait of the
bride. And I see photo-14 as a bridal portrait, Here is why!
The strongest point that captures the viewer’s immediate attention at first glance in photo-12, is
the subject‘s face and hair. That is a portrait of the bride! But the viewer’s immediate attention
in photo-14 goes directly to the bride’s figure and gown. That is a bridal portrait! (Brides chose
dark background because it featured their figure and gown)
Explanation: Photography is a visual communication medium, and the contents of our images
provide viewers with instant messages. What they see at a first glance at our image, should, of course,
be what we planned for them to see. For example, in a first glance at the image, the viewer’s attention
should immediately be drawn to the main point of interest in that image. And so, it is important, that
we learn how to control composition, tonal coordination, background, props, and lighting, so that
everything is subdued and leads the eye to the primary point of interest.
I became aware of, and learned to speak this language of photography, many years ago, as the
result of the incident of doing a bridal portrait against a dark background. (See Chapter 16)
Index

Chapter 16 Understanding and using the Language of Photography
The Language of Photography
My reference to the Language of Photography as an effective visual communicating medium is based

on the fact that, our eyes are attracted to light, and in a mere glance at any image, our eyes go instantly
to the brightest point within that image. Check it out! Gather several images of portraits of a variety of
subjects. Proofs will do. Now do the following with each print. Pick one up and hold it in front of you,
close your eyes, and now blink once or twice. What do you remember seeing instantly within each
image?
And now, consider the following: The primary point of interest of a classic portrait is the
subject’s face and expression. The only way to keep the emphasis on the face, is by controlling
and coordinating the various tonal values of clothing, background, props, etc.., The following
series of illustrations will give you and idea of how these controls are planned.
This photo shows what happens when you photograph a dark-haired woman wearing a light garment,
against a dark background. The emphasis remains on her body, rather than on her face.

Here a dark garment offers good tonal coordination between her body and hair, but the light
background causes a viewer’s attention to be evenly divided between the body, hair and face.
Changing to a light background achieves a tonal blend between the garment and the background, and
attention is no longer on the body. But now, the dark hair competes with the face for attention.

Here the total emphasis is on the subject’s face and expression. This effect is achieved by blending the
body and hair with the background. Yet, one remains sufficiently aware of the subject’s body and hair
styling to feel her total presence.
As you can see, this method of visual communication enables you to plan and control exactly
what you want to convey to the viewer.

For example, you may be planning a head and shoulders portrait of a young lady’s profile, with dark
hair arranged in a rather elaborate style.
As illustrated here, you photograph her in a dark garment against a dark background, and her
profile becomes the focal point of interest in this image.
If however, this photograph (#6) is not intended as a portrait, but is planned instead to illustrate the
styling of the hair, you would photograph her in a light garment, against a light background, to achieve
the desired effect shown here.

This photo shows another facial view of the same young lady. But due to the change in perspective,
her hair style appears more subdued and quite attractive from this angle. You may decide that in this
case, the viewer’s awareness of the hair may be desirable, and photograph her in a light garment
against a light background.
For sheer classic beauty however, this portrait (#8) is infinitely more effective. The planned tonal

coordination achieved here by placing the dark garment and dark hair against the dark background,
focuses attention fully on the face and expression. Similarly, the same planning applies to a subject
with light blond color hair, by reversing the procedure. These examples illustrate how the emphasis is
brought to and kept on the subject’s face, by a planned relationship of tonal values within the image.
Another visual control important in creating an effective image is composition. A physical

arrangement of the pose within the format of the image, with the subject’s face in a dominant position
within the format, and all physical lines of the pose leading toward the face.
THE FILM FORMAT and THE PORTRAIT FORMAT
In shape and form, people we photograph (men, women, children) are actually vertical objects, and
therefore best presented within the vertical oblong shape of a portrait format, however they are posed.
I make this point, because square film format cameras are widely used today, particularly by wedding
photographers, who find the square format very convenient for capturing the various groupings and
happenings during the coverage of a wedding, allowing them the option of final editing later. And of
course, the square film camera is equally effective in capturing portrait images on film, just as other
cameras of whatever film format shape and size. The final presentation of the properly cropped image
(finished print) however, always fits best within the oblong shape of the Portrait Format.
Using a Cropping Tool
Negative sizes and formats vary, depending on a photographer’s choice of camera equipment. Yet,
regardless of the difference in the size and shape of the film format, the composition of the image is
obviously the same in all negatives, and must be cropped to appear in the final print exactly as planned
to fit within a Portrait Format. Naturally, proof prints are needed for indicating the cropping of the
final finished print.
Commercially made cropping tools are available from some camera supply firms, usually in 4x5 and
5x7 (portrait)format. Or you may use a 4x5 or a 5x7 cardboard frame (photo folder) and cut it apart at
opposite diagonal corners, to make two cropping angles to work with.
Why Portrait Format???
The oblong shape of what is commonly referred to as the "portrait format" is most logical for framing
portrait images of individual subjects in a variety of "vertical" poses. And the portrait format is even
more important in head and shoulders poses, as I will illustrate and explain now. I borrowed the
following from Chapter 5, "Posing Men, Part Two" to make the point here.

The primary aim in head and shoulders portraiture is to highlight and feature the main point of
interest, the subject’s face. There should be no distractions within the image diverting the viewer’s
attention from the face. Note however, in just a glance at this photo, how your attention is drawn away
from the face by that large near shoulder, totally out of balance with the far shoulder.
Of course, we can crop into that large near shoulder, as illustrated here (9-b), and bring it into balance

with the far shoulder. But this close cropping leaves the face hanging in space without proper body
support.
This photo illustrates the proper solution. The subject’s body is turned a bit more to the front, showing
more of the far shoulder. We can crop into the near shoulder now to bring it into balance with the far
shoulder, and note how all lines in this composition lead diagonally up toward the face.
There is more. This photo shows the body turned still more to the front, to show even more of the far

shoulder. Now, by cropping the near shoulder to balance with the far shoulder, the resulting more
open cropping may be used to include more of the man’s body, if so desired.
Reviewing the above important points of information
Ÿ 1. In head and shoulders portraiture, the turn of the body controls the size of the far shoulder.
That, in turn, controls the cropping of the near shoulder.
Ÿ 2. That allows you to plan exactly the amount of the body in relation to the face.
Ÿ 3. This flexibility of being able to control the visual size of the body, can be used very effectively
in posing heavy set men. (And women)
The above example of controlling composition, deals with the appearance of the subject’s face. The
pose in photo-12 is properly arranged in a masculine composition. But looking at it, you become
aware of the stiffness on the right side of the face and neckline. Compare that with the relaxed,
comfortable face and body relationship in photo-13. That was achieved by a slight turn of the body to
the front, to relieve the tension on the neck. This method of controlling composition by cropping, can
only be done using the shape of the "Portrait Format"

These two photos show how the visual aspect of, what I call "the Language of Photography" delivers
the message of an image to the viewer. The emphasis in the portrait on the left (#14) is unquestionably
on the subject’s face and expression, and that is the total message. The message in the portrait on the
right (#15) is different, and saying more. You, the photographer, decides what you want your message
to say, (perhaps both?), and arrange the tonal values and composition of the image to deliver your
message.
Planning three quarter and full length poses.
Planning images of poses beyond the head and shoulders close-ups is a bit more complicated, and I
decided to use some of my images to illustrate the necessary planning involved in creating those
images. As we go along, you will note a common denominator in all my images. Regardless whether it
is a portrait of a single individual subject, or of a group, when you look at my images, your attention is
instantly drawn to the subject’s faces and expressions.

Planning poses beyond head and shoulders, always involve additional relevant, but secondary point of
interest, as the hands on bible in this image (#16). Close your eyes for a moment, then blink a few
times. You will see that your attention is drawn first to the face, and then to the hands and bible. This
planned sequence of a primary and secondary points of interest is achieved by controlling the tonal
values of the lighting. As you see, the subject’s face is lighter, and the eye is attracted to the face first.
The pose is pure Classic Masculine Composition. Note, the hands are positioned at a height that brings
the arms into slight diagonals, creating smoothly flowing lines between the face and hands.

The elegantly simple formal portrait of this woman, is similar in treatment to the previous portrait of
the man. But she is posed in a pure Classic Feminine Composition. As you see, her hands too are
positioned at a height needed to achieve the slightly diagonal lines of the arms. The style and color of
her garment was carefully chosen for its subdued quality, to help keep attention on the face.
Portrait of an executive, photo-18. He is arranged in a Masculine Composition, and the primary point
of interest here is the face. The lines of the shoulders and arms all lead the eye smoothly in a circle
from the face to the hands and back. The portrait format here is horizontal, to display the image
properly.

This is an obviously planned portrait, as indicated by the clothing, and inclusion of the dog. Note how
the pose is arranged with all lines leading up toward the girl’s face and lovely expression. But, when
you check it out by using my suggested blinking trick, it will unfortunately indicate that the primary
point of interest here is on the dog’s chest. That can, of course, be remedied by retouching. But the
client preferred to keep it that way. Occasionally, when there is a reason for it, we must settle for a
slight compromise.

I am showing these two photos to illustrate my mistake of judgment in planning those images. In
photo 20 on the left, the viewer’s eye is instantly attracted to the white garment. In photo 21, attention
goes to the hair. The portraits are lovely as they are, you might say? That is true. But if I were to
switch the backgrounds, the white in photo 20, and the dark in photo 21, the main emphasis in both
portraits would be on the face and expression. An understanding of how to use the language of
photography helps to create more eloquent images. (Such self examination helped me to learn
that)
In full length portraits of groups showing the subject’s total figures, clothing coordination and tonal
values must be carefully planned not to distract the viewer’s attention from the subject’s faces. Note
through my blinking trick, that indeed, your attention in this image is drawn to the faces and the book,
all at the same time. Note also how the composition of this pose leads your eye around from face to
face to the book, telling the story of this image.

The relaxed casual grouping in this portrait (23) of three brothers is an excellent example of planning
an image. An image like this doesn’t just happen. Clothing was discussed ahead of time of the booked
sitting. And the pose in that image is not the result of a trial and error approach to see what I can come
up with. That is what I planned the image to deliver to the viewer, and I posed each of them to form
this grouping.
A few comments about the last two photos, (22 and 23). It’s interesting to note and realize the
different feeling each of these two images project to the viewer. In the image of the Family Story
Time, all communication is between the members of the family, and we are excluded. It is a private
moment in the family. The Three Brothers however, reach out to the outside to communicate with us.

Four sisters musicians form this traditional string quartet. Mother requested a casual portrait showing
them as they are when they rehearse at home. We discussed and deliberately chose dull clothing to set
off the faces and the instruments. I arranged the players in a logical grouping. The young lady
standing plays 1st violin. Sitting below her on the left is the Viola player. Sitting across from her on
the extreme right if the 2nd violin player. And next to her right is the Cello. Their conversation is
private, and the viewer is ignored, the same as the Family Story time.

Here however (25), the people in this formal classic portrait of a family group communicate directly
with the viewer. The important feature of this style of family group portraiture is, the viewer’s instant
awareness of all the faces, and then, of the bodies showing the size and age relationship between the
members of the family. You understand now, that this effect is achieved by preplanning the
coordination of clothing and background. For details about my style of posing family groups, I
recommend you turn to Chapter 8.
This relaxed casual grouping of four siblings, their dog, and warm smiles on their faces, is the end
result of thoughtful planning, and reflects my particular approach to portraying groups. I don’t simply
bunch people together. Instead, I arrange a grouping of effectively posed individuals, brought together
to form the group you see here.
In closing: I began this chapter with a specific aim in mind. To bring up a topic rarely discussed
among photographers. The language of photography, and how to use it to create images that
communicate and deliver your exact message to a viewer. I sincerely hope that my message has
reached you.
Index

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The Zeltsman Approach to Traditional Classic Portraiture

CHAPTER 1.....Who is Joe Zeltsman. Opening comments. Display of Zeltsman portraiture.

CHAPTER 3.....Facial evaluation and planning prior to posing.

CHAPTER 4.....Posing Men - Part One

CHAPTER 5.....Posing Men - Part Two

CHAPTER 6.....Posing Women - Part One

CHAPTER 7.....Posing Women - Part Two

CHAPTER 8.....Classic Portraiture of Family Groups

CHAPTER 9.....Lenses and Camera Positions in Portraiture

CHAPTER 10.....Posing Babies and Young Children

CHAPTER 11.....Posing Couples

CHAPTER 12.....Zeltsman Bounce Light System -Fill Lighting

CHAPTER 13.....Portrait Lighting - Part One

CHAPTER 14.....Portrait Lighting - Part Two

CHAPTER 15.....Traditional Portrait of the Bride

CHAPTER 16.....Understanding and using the Language of Photography

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The Zeltsman Approach to Traditional Classic Portraiture

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"Thank you, Van Moore"

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The Zeltsman Approach to Traditional Classic Portraiture

Chapter 3 Facial evaluation and planning, prior to posing.

Exception; CLASSIC PORTRAITURE. Consider the following: When a subject is arranged in a

Benefits of beginning a Portrait Session with a Facial Evaluation

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The Five Facial Views

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The two-thirds side View

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Front facial view

Lighting for a Facial Evaluation Session

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The Why and How Approach to Facial Evaluation

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The Actual Planning

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The Zeltsman Approach to Traditional Classic Portraiture

Chapter 4 Posing Men - Part One

Full Length Standing Masculine Pose