Pascal Baetens. Nude Photography. The Art and The Craft. 2007

(Elle) #1

poses


poses 85

Although “posing” is the generally accepted


word, I don’t much care for it. It is such a static


term: it suggests that your model is as inanimate


as a shop-window mannequin. I prefer the word


“acting.” It assumes that the model is playing an


active role, that he or she is a living, moving being.


It also implies that the model is playing a part,


which means that there is a concept behind your


image—you have not just set


out to photograph a nude


body with no thought as to


what you want to express.


“poses” are not right or


wrong. A pose can be


elegant seen from one angle


and inelegant from another,


appropriate in one setting and


inappropriate in another.


A certain position can work


with one model and not with another of a


different body shape. Not only do body types


differ, but so do skin tones and hair length and


color—all of these elements will affect the look


of the final image.


In general, I tend to think in terms of curved


shapes when I am working with female models


and of triangles with male models, but this of


course depends on the type of image I want to
make—it’s a mistake to stick to invariable rules.
You may be able to book a model who fits the
exact physical shape you have in mind for
a particular shot, but if not, keep an open mind
and don’t impose an idea that simply won’t work
with the model you have. Top photographers can
cast exactly the model they want, but while you
are still on the lower slopes
of the profession learning to
adapt is a useful exercise
that will hone your skills.
In order to communicate
what you wish to express
to the viewer, you need to
employ your understanding
of body language. A turn
of the head or body can
transform a strong and
confident pose into a protective, vulnerable one,
for example, emphasized by the angle you
choose to shoot from; and within those poses
you will need to look for small adjustments that
create a beautiful line from a mediocre one.
In this chapter, you’ll find out how to create
aesthetically appealing, dynamic poses that will
convey your message powerfully to the viewer.

You need to


employ your


understanding


of body


language



‘‘

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