Category Archives: Insights

Directing and Posing: Do you know the relationship?

Directing and posing seem to be two opposite ends of the photographic spectrum. Yet, they share a very close relationship. Successful images usually break the barriers because of both directing and posing. At least, more so than the rest of the day-to-day fluff that floats on the photographic wind.

In successful images directing and posing must share an intimate relationship.

In successful images directing and posing must share an intimate relationship.
Image taken from the video below.

Directing and posing – the meanings

It is interesting that the meaning of posing rests more on misrepresentation than action. Here is what I mean…

Posing; posed; verb – to pose…

  1. To assume a particular attitude or stance, especially with the hope of impressing others: “He likes to pose as an authority on literature”.
  2. Presenting oneself insincerely: He seems to be posing in all his behavior.
  3. To assume or hold a physical attitude, as for an artistic purpose: to pose for a painter.

Dictionary.com :: Seen: 03/10/2018

These definitions of posing are mostly about how the subject represents themselves.

On the other hand, directing is more about the power behind the action…

Directing; verb – To direct.

  1. To manage or guide by advice, helpful information, instruction, etc.: He directed the company through a difficult time.
  2. Regulating the course of; control: History is directed by a small number of great men and women.
  3. To administer; manage; supervise: She directs the affairs of the estate.

https://www.dictionary.com/ :: Seen: 03/10/2018

In this definition we are in no doubt where the driving force comes from.

So, is the rift between these terms a real one for a photographer? Yes! And, the division often separates the successful photographer from the rest.

A common mistake…

When I teach portraiture classes, the most obvious gap in knowledge is not about the photography. It is about the connection between the people involved. Amateur photographers, and some professionals, rely on the subject to come up with the posing strategy. They take the passive and weak attitude that the posing person knows how to present themselves for the photo the photographer has in mind. This approach leaves the directing in the hands of the subject of the portrait. Worse, the subject is posing to meet your goals, but they probably don’t know what they are! Regardless, the subject is probably the least qualified person to steer the outcome of the photograph. So, do not let your subject misrepresent your vision of the image.

Have a goal before you start

It pays to have at least an idea of what you want to photograph. Too many photogs put themselves in front of a subject (person or object) and hope that they have the right photographic technique to capture it. Success relies mostly on luck with this approach.

On the other hand, the stronger approach is with the photographer that has a concept to depict. They research it and set it up. Success becomes a matter of visualisation and fulfillment. There are two steps there that the passive photog misses. First, they don’t do any visualisation and research before starting. Secondly, they just react to the scene, not direct it or manage it to ensure photographic success.

why do photographers often fail to direct?

In short, I think there are several reasons…
• Practice: The successful photographer has had enough practice to know that the passive point-and-shoot method is too haphazard and error-prone. The passive photog does not drive for a result.
• Fright: Most self-taught and developing photographers have not learned to direct and, so, do not recognise its value. They are frightened to “take control” of someone else (the subject). Directing requires them to drive for the result and be the instigator of the outcome. This is an extrovert approach. However, it is a big step to take for the unpracticed – or at least they think so. Actually, it is the path to success.
• Lack of knowledge: The reluctant, passive photog is an example of a great educational irony. They think they should not do it because they don’t know how to go about it. However, they won’t even begin to know about it unless they experience it. In fact, the way to get past the problem is to simply push past it – have a go! Just do it! You will learn by your mistakes and feedback.

Directing and posing have a dynamic connection

To step outside of the meanings quoted above, we should be more bullish, more participatory, more inclusive, more descriptive. Directing drives the subject and the poses. However, it is only through co-operation and joint understanding can the posing be effective. Success depends on you, the photographer, breaching the divide between the traditional meanings of directing and posing.

Directing is an extrovert activity. That does not necessarily mean that its for bullies. Instead, to succeed, we need to grasp the bull by the horns. To direct is to articulate an outcome. Make it clear that the poses you work with are the ones that fit the goal you are trying to achieve. Work with the sitter to jointly get the posing outcome that will make the best shot.

Directing and posing flows from participation and inclusion

Be more participatory. As photographers we need to interact with our subject – not just react to them. Talk to them, know them, live a part of their lives for a few minutes. Listen to them, but know what you want to achieve. Then work with your subject bringing out the advantages they have just told you about. The best poses are those that show the character of the person. They have the character, you do the interpretation through your direction. Directing and posing come together through the cooperation and participation of both photographer and subject.

Be more inclusive. Once we are involved and communicating with our sitter or subject we can cooperate with them to achieve our goal. That is the previsualised goal we set ourselves before the shoot. Often what we want out of the shoot is a reflection of what your subject wants too. Include them in your vision. They will understand and perform the pose better if they are included in the discussion leading to it.

You will not succeed in a shoot where you alienate, annoy, ignore or destroy your subject. Generally, your shoot stands a greater chance of success when you view the whole process as one of teamwork between the photographer and the person you are framing.

Directing and posing – the moral of the story

Be the driving force. See the goals, articulate your vision. Always bring your subject along with you. The dynamic connection between you will enable you to bring out the character of your sitter, open up the subject and pick the best approach possible.

From feedback, I have found that learning to engage through directing and posing gives students a big boost in their development. If my students come away from a portraiture session thinking, “I must try directing, I must try directing!”, then I know they will be on the way to making great images. Remember, not all your shots will be a success. Nevertheless, you stand more of a chance of some good hits if you push for what you want to achieve but also involve your subject.

A quick video

Directing and posing often does need a degree of knowledge and understanding or practice and experience on the part of the director. In this video short, you can see some of the issues that the photographer has considered prior to the shoot. The lines and captions show the previsualisation in the shot. The photog works with the subject to produce an outcome that is both unique and empathizes with the character of the subject. It is a quick video, but worth thinking about on several levels. While watching, think of the directing aspect, the posing aspect and the actual poses that are being struck.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photog and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photographers.
See also: Editors ‘Bio’.
See also: Profile on Google+.

Expressing ourselves

Expressing ourselves is more than simply representing what is in the frame.

Expressing ourselves in photography goes beyond just rendering what is in the frame when we make an image.
View the video below :: Image is from the video.


Expressing ourselves is more than just clicking the shutter button when we see a scene we like. The point-and-shoot photographer says little to the viewer beyond blandly representing the scene before them. That is probably why the dreaded “holiday photo evening” is so acutely boring. Those images speak only to the author and family. To go beyond our close associates and reach a wider audience, the photographer has to be able to say more. We must speak to the viewers and open a dialogue with them through our images.

Expressing ourselves when the viewer knows the language of images

We photogs are communicators. As such we often forget the audience is more literate in our art than we realise. So personally, we are able to decode images with success, but think the audience can not interpret our work. As a result, we work too hard to try and say something. Perhaps we try to say too much or over-complicate the message we want to send. Taking the simple approach is what is really needed. In photography, as in all art, simplicity often has the most powerful impact. With a simple point, our images speak to the audience.

Remember, it is the thought you put into a photograph that makes it work, not the rapid capture on the spur of the moment. Think, and you will communicate. React and you will merely render. We should try to go beyond mere rendering of a scene. Our images need to have a point if they are to be a success. With every image we should seek to make a point. With every image we should speak to the viewer.

To make the meaning of a photograph clear takes some thought. Knowledge of the “Elements of Art” help us to develop the visual power in the image we can create. However, thinking about how we communicate gives us the language we need to actually create images that convey messages. That is about trying to show your viewer something. For example, if we wish to create the “Aaaahh!” experience of the fluff-ball kitten with big eyes, then focus on that. Exclude background clutter, the baby near-by, the toys on the floor. Get rid of distractions. Instead, get right in, close, and show that kitten with all its endearing qualities.

Expressing ourselves in images is a primary skill that successful photographers work on as they develop. So, think carefully about what you are trying to say before you make your image. Work with your subject to include only the elements you need to make your point. Exclude other things from the shot, so your point is clear.

Video – an insight to expressing ourselves

The video below is about expressing ourselves through visual art. The lesson is simple. We are all fluent in the language of images without knowing it.

Knowing that the viewer can decode our images helps us. With a little thought, expressing ourselves as photographers is easier than we think. Make the image simple.

In this short, hilarious video, Christoph Niemann, illustrator, opens up the language of images. He shows us how artists (and by extension photographers) can tap into human emotions and thought. This simple visual tour can help you understand how we express ourselves effectively as image makers.

You are fluent in this language (and don’t even know it)

See this video in the TED page Expressing ourselves :: You are fluent in this language (and don't even know it) | External link - opens new tab/page.

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Article Author

Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training courses in digital photography.
See also: Editors ‘Bio’.

Artwork images – record or new art?

Artwork images are not as easy to photograph as they seem.

Artwork images are not as easy to photograph as they seem.
Image of paper art by Peter Gentenaar
More from this artist on: http://www.gentenaar-torley.nl/  Artwork images: Link to Peter Gentenaar | External link - opens new tab/page

Artwork images are sometimes questionable as art

Most photographers look at work by an artist they like and feel compelled to take a picture. Of course it serves to remind them of the art they saw. That is reasonable. The keen photographer thinks differently. They like to see the artwork. They also like to produce photographic art of their own. But more often than not the picture they take is actually a record shot.

It is often said by judges in photographic competition that a sculpture photograph is a record shot. I have said it myself when judging. A pure record is not a piece of art by the photographer. Just exactly what do we mean by that?

Artwork images: Record verses interpretation

An example of a record shot is the photo at the top of this article. This work is by the wonderful paper artist Peter Gentenaar. His work is stimulating and interesting to the eye. Photos of his work bring out the splendour of his art. That is the point. They are less about the photographers interpretation of the art. Instead, they are about repeating the work in its fullness to show the work itself. It is a record. As such, it will show off the skill of the original artist.

Record shots are a legitimate photographic form. But they are often a record of the exhibit - not new photographic artwork images in their own right.

Record shots are a legitimate photographic form. But they are a record of the exhibit – not new photographic artwork in their own right.

[Seen on www.starr-art.com/ on 30/05/2015
Sol LeWittWall Piece,
1988 Painted wood,
76 x 5 x 5 inches
Published by Edition Schellmann,
Munich and New York.]



Reproduction of artworks in a record style is a proper photographic form. For remembrance, or sales purposes, it is fine. For those seeking to make their own art there is something more needed than simply snapping someone else’s work.

That something extra is a new re-interpretation of the work. The photographer has to invest something of their own into the picture. They have to make more of the original artwork than is presented solely by the work itself. There are a number of ways to do this.

A new interpretation may not be a complete image of the work. It may include the full work, or only be a part of it. The environment of the image, how it is presented, or its framing are all important. Overall there will be something in the new artwork images that the photog makes their own.

 

How can you make new artwork images from an art piece?

Abstract from a piece of art

In this abstract of another piece by Peter Gentenaar the photographer has not shown the whole piece of work. They have taken a piece of the work that shows the wonderful lines and curves, but as a whole it creates a taste for seeing more.
See: Peter Gentenaar–Paper Magician Artwork images:  | External link - opens new tab/page.

• Abstract artwork images: One way to get something new out of a piece of art is to create an abstract of some sort. Abstract photos can be deeply satisfying to create and provide an interesting image for the viewer to consider. Most of the time abstracts are about making an image of a part of the artwork. An example is shown on the left. There can be a lot more to creating abstract photos than simply framing a bit of the total. The power of abstract is to create the essence of the total.

Abstracts require an eye for what works when the whole is not seen. For more on abstracts see our Abstracts Resources Page.

• Creating an new environment: The environment where sculptures are displayed is often important to the sculpture. Sometimes images are still record shots even if they are not on a simple white background. This link is an example of a Henry Moore sculpture record shot (Author unknown).. The author has displayed the sculpture just as it is with little enhancement. In fact it is almost devoid of its environment. The sky serves only as a backdrop.

The same could be said of this picture of an elephant sculpture (below). The artist has created a superb piece which mimics the body of an elephant defying gravity. The first shot is a pure record shot. But, the second is a superb interpretation of the sculpture in it entirety with an audience, depersonalised by movement blur. Very clever. Both images are taken by the sculptor himself, Daniel Firman. A simple but excellent reinterpretation. Such re-inventions are in themselves artistic. As such they are creating artwork images in their own right.

Gravity-Defying Elephant Sculpture

Gravity-Defying Elephant Sculpture by Daniel Firman.
Images by Daniel Firman.

Published in: Gravity-Defying Elephant Sculpture.
(Seen on WordlessTech Artwork Images: Gravity-Defying Elephant Sculpture by Daniel Firman | External link - opens new tab/page 29/05/2015).


Another Henry Moore Sculpture is shown below. This image makes as much of the environment as the sculpture. The artist has created a great panoramic picture using a letter-box crop. The length of the principle subject (the sculpture) is complemented by the almost central position. But, it is highlighted by the mundane, but important line of sheep. The latter gives the eye an excellent weighted contrast to the sculpture in the background. Clever compositional devices like this often create great great artwork images. There is no way this is a record shot.
Artwork images: The compositional devices in this image make it an interesting example.

The compositional devices in this image make it an interesting example of artwork images – definitely not a record shot.
(Seen on: Backstrap Weaving Artwork Images: Henry Moore sculpture on Backstrap Images blog. | External link - opens new tab/page.
(Click the image to see full size).

• Adding something: Another way to make something new of a piece of art is to put something new into, or onto, the piece. I leave the artwork images to your imagination here.

I have often heard judges say about record shots, of say a sculpture, “this needs your hat on it”. Alternatively they might say something like, “a cat just here would make the image something different”. What the judge is saying is, the author has created a shot that does not have anything from the photographer in the image. Whereas, with a little thought, or a little prop, or even a person – the picture could be transformed. Instead of the simple (and boring) representation, the author could have added that little extra that makes the image into a reinterpretation – something different. It would be something created uniquely by the photographer.

Works by you are artwork images

The uniqueness of a photograph is something that makes photography interesting. But, make the main subject a simple representation of somebody else’s work, then the uniqueness is lost. A simple record is created. But with simple compositional thoughts, re-frameing, or the addition of some new aspect, you create a new synthesis. One that is unique to you. One that is a real contribution to the body of artwork images. That is what makes photography so special.

The main point to take from this is simple. Think, plan and consider the composition when taking pictures of other peoples art. A subtle treatment of the art piece can transform it into an image only you could make.

Artwork images – further thinking

Which of these are record shots of Henry Moore Sculptures and which are artwork images by the author…
Henry Moore sculpture on Google Images Artwork images - further thinking | External link - opens new tab/page

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Backdrops – make them yourself

Create your own backdrops.

Here is a quick and simple way to create a great backdrop. You can produce your own great designs with a little creativity.
Image from the video below.

The shots and the props can be creative

Great backdrops often make a picture. The simple ones are the best. They do not pull the viewers eye from the subject of the shot. Instead they focus your viewer on your subject. A backdrop should create an environment for the shot that both completes the scene and brings out the best in the subject.

Photography is creative and the backdrops should be too

There are a million creative things you can do with your pictures. Making backdrops can be equally as creative. In addition they add a new spin and level of creativity to your shots.

You can make backdrops out of wood, canvas, sheets, paper, metal… well millions of things. Be careful they are not too heavy. If they fall and hit someone they might be injured. Don’t make backdrops too flimsy. They might fall apart during the shoot. Apart from that the sky is the limit!

Here are some ideas I have seen used to good effect.

  • Autumnal leaves densely stuck to an old sheet.
  • Spaghetti stuck to an old sheet.
  • Chinese lettering enlarged in a copier and stuck on white wall paper liner.
  • Wallpaper of many designs.
  • Hundreds of pieces of string hanging down.
  • Dozens of electric lights hanging down.
  • Hundreds of Wooden scraps nailed to five planks in a random fashion.
  • White back drop paper with lightly pencilled circles drawn all over it.
  • A white sheet “tie and dyed” with various patterns.

I am sure you can think of many more creative ways to enhance your shoot with DIY backdrops. Just take a little time to think over what you need for your shoot.

Here is a Google search for “Creative backdrops images“. Plenty of ideas there to stimulate your thinking!

Some simple principles for good backdrops

Some backdrops are simply not right for the shot. Of course there are those artists who seem to make anything work. For those of us who need a little guidance, here are some principles to help you design your backdrop:

  • Do not make the backdrop stronger or brighter than the subject.
  • Choose colours that bring out the colours in your subject.
  • Use colours and designs that almost fade into obscurity allowing the subject to blossom.
  • Allow your backdrops to complement the subject – not clash with it.
  • Use texture, tonality and hue to vary the background so it appears to be slightly 3D.
  • Be careful that patterns do not emerge unless they are deliberate.

These are not rules. They are guidelines to get you started. Of course as your skill as a photographer and backdrop-maker develop you can make or break these principles. Have fun. Make great shots!

How to make your own studio photography backdrop – video

In the video below there is a quick and simple method of setting up a canvas backdrop. It can be done in a few hours. If you don’t have much space you can make it out of doors. Enjoy this video short and let it help your mind be creative.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Images should make a point… photographic meaning

No Image Today - put photographic meaning in every image you make.

• No Image Today •
There should be a point to every image you make. An image is a communication. Without meaning it is just a picture.

What is a true image?

If your picture has succeeded it has to conjure an image in the mind of the viewer. But if your picture is just that, a picture, it will not succeed. For the genuine photographer, nice is not good enough. A picture should have a meaning, a point, something that makes it a communication. It should have something that makes it an image in the viewers mind.

Photographic meaning… the punch in the picture

Uncertainty about the validity of an image is a necessary part of creativity. Especially in the sense that you should always question, “Have I actually said anything in this picture?” Photographic meaning is an important idea. To really comprehend it, ask yourself if your picture says anything. Be sure you have really transformed it into an image.

I remember once sitting by an autumnal birch tree. It had lovely little yellow leaves and was a nice shape. I took a picture of it. But in the end that picture was simply a nice tree. It spoke to me because of the few minutes pleasure it gave me as I admired it. The picture had nothing to say to anyone else. I never showed it to anyone else, ever. It was about my feelings. It said nothing and was of no benefit to anyone else. It had no photographic meaning. It’s now lost in the obscurity of hundreds of thousands of my other images. ‘Nice’ is simply not good enough to achieve photographic meaning.

We could be picky and obtuse. “Well, it had a non-fatalistic statement to make about the environmental impact of an autumnal tree in its cardinal state, doing what birch trees do… etc.”. Actually, saying anything about it would be mere fluff on the wind. It was a non-picture. Devoid of photographic meaning, it satisfied nothing in the viewer.

You could say the picture now has a ‘raison d’etre’ following this blog. But that was not a necessary, or sufficient, reason for the picture. It’s a post hoc justification for its existence.

The Photographer’s Eye: Composition and Design for Better Digital Photos

When I first read this I wondered how useful it would be. But I learned the importance of photographic meaning. Composition in all its forms is critical to great image-making. Read this book. It is a visual treat as well as a great insight to the power of design and composition in your photography.
The Photographer’s Eye: Composition and Design for Better Digital Photos

Communication

Think of all photographs you make as a way to communicate something. That birch tree picture did not speak to an audience. I remember it now because I sat and stared at the picture for ages thinking, “What was I thinking about to take this picture?”. As an image it conjured nothing in the mind of the viewer. As a picture it failed to pass the photographic meaning test.

Nice is not good enough – images must carry photographic meaning

The ‘birch tree’ incident, not the picture, serves as a reminder. Creativity should have a point – be an actual communication. Otherwise it will have no photographic meaning and little else to commend its existence.

A dedication – Photographic Meaning

This is dedicated to my friend Alison. She struggles to understand her own significance as a communicator. Actually, her astute photo-observations convey a lot of photographic meaning.

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Broken Light Collective – Great work

The Broken Light Collective - inspiration beyond pictures

• Broken Light Collective •
Inspiring work from people who have a different viewpoint.
[Image from the video].

Inspiration that goes beyond the picture…

Over this weekend I was inspired by a number of things. A film I saw, a wonderful view and the “Broken Light Collective”. I was most inspired by the latter. The Broken Light Collective is one of those organisations that deserves to do well and to inspire people.

The Broken Light Collective

Broken Light’s main goal is to create a safe and accepting environment where photographers of all levels who are affected by mental health issues can display their work, as well as inspire one another to keep going and keep creating, despite the dark or scary places in which they may find themselves.
Broken Light Collective Broken Light Collective | External link - opens new tab/page

As a goal it is perhaps understated. I was inspired because of the high quality of the work and the wonderful range of subjects tackled. Modern life is hard enough without coping with additional difficulties. I know that living with a disability should not itself bring ‘hero’ status. Everyone gets on with their lives despite the obstacles we meet. But, a group like this deserves exposure. It is supportive and produces great art work. As such it is well worth noting and telling your friends about.

The Broken Light Collective video

This short video produced by the Broken Light Collective Broken Light Collective | External link - opens new tab/page is a little gem. Fine photography and great compositions are all composed in a beautiful show. If you have the time, take a browse around the website Broken Light Collective. Again, some wonderful work.
Broken Light Photography Collective Broken Light Collective | External link - opens new tab/page

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.

Headshot poses – make your portrait right

Headshot poses :: Keep it simple.

• Headshot poses •
Keep the shots simple and try to reduce any distracting elements in the shot.
(Image from the video)

Your portraits need to be suitable for your subject…

When you want to do a portrait your subject will often not know what to do. Headshot poses are usually pretty simple. But the subject will look to you for direction. You will need to help them pick the right pose.

What inexperienced photogs forget is that male and female poses are different. So they tell their subject to pose how they do when feeling good. That may not be right for someone of the opposite sex to you.

Think about the gender of the subject in headshot poses

If you are a female, think carefully about your headshot poses for a male. Maleness tends to be angular, more aggressive in stance. Males are often better seen head on where their size seems a little more imposing. A hard, upright position indicates maleness. So does harder shadow lines on the face and angular light direction.

If you are a male photographer, you may think in male terms. Female headshot poses are better as more rounded poses than male shots. Inclined heads and slightly turned bodies are best – not looking directly at the camera. Find ways to pose your women subjects in a smaller more understated pose. Remember, shadows on a female face are more flattering when they are soft and give a more rounded appearance.

Circumstances may effect the headshot poses too

There are a lot of different reasons to take a headshot portrait. They may have particular poses attached to those circumstances. For example business poses still have a masculine and feminine aspect. However, they would tend to be more understated than a free posing session. The same might be said of guests at a wedding – and so on. So you need to consider why the headshot poses are being taken.

Clothing is important too. Headshot poses tend to include only the upper body. So if the clothing is distracting it can draw the eye away from your subjects face. Don’t try to get your subject to do a heavy make-up or high-quality hair do if you are trying for a natural shot. Let the inner person come out. Headshot poses are best done in as simple way as possible. There is going to be a high proportion of face in the shot. Overdoing other things will detract from that.

Setting the mood for your headshot poses

Here are a few extras for you…

  • Relax. Sometimes you can get very uptight when shooting portraits. This will get your subject uptight too. So before you start shooting, take a deep breath, breath out slowly. Then spend a few moments talking to your subject to put them at ease.
  • Jokes help to relax an uptight subject. If you tell a light-weight joke it will help set a light mood.
  • Subjects often have a very uptight face to start with. Sometimes all the expression goes of their face. It is fun and will lighten things up if you tell them to pull a few faces – do it with them. That will help get a few giggles and they will have more expression after doing it.
  • When doing the poses make sure you complement your subject. Headshot poses are best done with natural facial expressions. Reward those with a complement. “Lovely smile”, “Nice eyes”, “love that expression”, and so on. This builds a rapport with your subject. It helps them feel comfortable as they pose too.
How to Pose someone for Headshots

In this five minute “headshot poses” tutorial you are lead through a range of things to consider…
Tony Northrup

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Damon Guy - Netkonnexion

Damon Guy (Netkonnexion)

Damon is a writer-photographer and editor of this site. He has run some major websites, a computing department and a digital image library. He started out as a trained teacher and now runs training for digital photogs.
See also: Editors ‘Bio’.
By Damon Guy see his profile on Google+.