it up with clothing. If this isn’t possible, use a pose that obscures this area from
view. (These same neck-hiding poses—several are seen on the previous page—
will also conceal a double chin, which can be very helpful.)
The Shoulders and Arms.
In a head and shoulders pose, the composition of a portrait looks finished if the
shoulders fill the bottom of the frame from one side to the other. If the portrait
is composed showing more of the body, then the arms can be used to fill in the
void areas at the bottom of the frame. Basically, this is completing a triangular
composition, with the shoulders and arms forming the base of the triangle and
the head at its peak. (Note:Many poses offer the photographer the ability to
choose from different compositions. Poses like these work very well in high-vol-
ume photography studios. Once the subject is in the pose, you can make a full-
length or three-quarter-length image, then move in for a tighter head and
shoulders image without having to re-pose the subject.)
The Shoulders. The widest view of any person is when the person is squared
off to the camera. By turning the shoulders and torso to a side view, preferably
toward the shadow side of the frame, you create the thinnest view of the body.
The shoulders of a man should appear broad and be posed at less of an angle
than the shoulders of a woman.
Additionally, portrait subjects appear stiff when their shoulders are running
perfectly horizontal through the frame or when their spine (if you could see it)
is running perfectly vertical in the frame. Posing the person reclining slightly
backwards or leaning slightly forward, makes the shoulders and spine run di-
agonally through the frame for a more relaxed look. The portrait will have a
66 JEFF SMITH’S GUIDE TO HEAD AND SHOULDERS PORTRAIT PHOTOGRAPHYPoses that can be quickly cropped to a va-
riety of portrait lengths are very helpful in
high-volume studios.The widest view
of any person is when
the person is squared
off to the camera.