How to get up, sit down, lie down, how to turn your head? We are sure that our selection will help you have a great photo session and get a decent result that will suit both the model and the photographer.
1. Let's start with a simple portrait pose. The model should look over her shoulder. Pay attention to what an unusual interesting portrait can be if you take a picture of a girl in the same position, but from a different angle.
2. In the portrait, the hands, as a rule, are not visible, at least they do not dominate. You can create an interesting photo by asking the model to play with different positions of the hands to the face.
3. You may be familiar with the rule of thirds. A similar result can be achieved using diagonals. Also remember that you don't have to hold the camera straight all the time, tilting it can give you a new, interesting angle.
4. A cute photo will turn out if the model sits with her knees together. It is better to take pictures from above.
5. Sincere and attractive pose when the model is lying on the ground. Get down on the ground nearby and take pictures from this level.
6. One of the variations of the previous pose - the model lies on her stomach, resting her hands on the ground. It looks very cool if the photo was taken in a field, among meadow flowers.
7. Surprisingly simple, but absolutely amazing and winning pose - the model lies on her back. Take pictures from ground level while moving around the model. Ask her to occasionally change her facial expression, the position of her head and hands.
8. Another simple pose that is perfect for girls with any type of figure. Ask the model to change the position of the arms and legs, focus on the eyes.
9. Playful and cute pose. It looks great if the model lies on almost any surface: bed, grass, sandy beach. Shoot at a slight angle, focusing on the eyes.
10. Proud and simple pose. The model sits on the ground. The pose emphasizes the posture and slim profile.
11. The model sits on the ground. This pose is sincere and open. Try taking pictures from different angles.
12. A great pose to show off the beauty of the model's physique. It looks great if the silhouette stands out against a bright background.
13. Relaxed posture. Ask the model to experiment with hand positions, twists and turns.
14. Elegant pose. The model is half-sided, hands in the back pockets of the trousers.
15. A seductive pose when the model is slightly leaning over. This pose allows you to subtly emphasize the shape of the model.
16. Sensual posture. Well suited if the model has a taut, graceful figure. Hands above the head additionally stretch the figure, which allows you to demonstrate the relief.
17. When photographing a model in full growth, a huge number of variations are possible. The pose in the illustration is just the starting point for many experiments. Ask the model to change the position of the body, arms, head and eyes.
18. Relaxed pose: the model is leaning against the wall. She can lean on one foot or hands. Try several options.
19. The principles behind these full length shots are simple: the body should be curved in an S shape, the arms should be relaxed, and the weight of the body should be on one leg. In such photos, girls with a toned figure look good.
20. An attractive pose for girls with a sports figure. Experiment and find the position of the body in which the relief will look the most attractive.
21. Romantic and gentle pose. With the help of fabric draperies, you can make very sensual photos.
These are the basic poses that always look good. Remember that the illustrations are just starting points. Each of these poses has many variations. Ask the model to change the position of the hands, head, body, facial expression. Watch and look for the most advantageous angle for each girl. Shoot from different angles and in different lighting conditions. Be creative and your photos will be unique.
This article is intended primarily for those who first came to the site with a desire to learn how to photograph. It will act as a guide to the rest of the site's materials, which you should pay attention to if you suddenly decide to “pump” your photography skill.
Before learning to photograph, you need to decide for yourself - why do I need it and how deep am I ready to dive into it? Probably everyone has seen a similar caricature of the scheme of human evolution:
Image from the Internet
Sometimes this picture draws a line between a photographer with a cell phone and a tripod and the caption "some people should stop here."
The article you are reading has been in existence since 2008 and every couple of years it is thoroughly edited in accordance with current trends and trends in the field of photography - amateur and professional. For 10 years of existence, this article has changed its content by almost 100%! This is due to the fact that we now live in a critical era, when photography has turned from the lot of professionals and enthusiasts into a general hobby. And not even a hobby, but an integral part of everyday life. You probably already guess that we are talking about mobile photography. On the one hand, this is very cool, but on the other hand ... Photography, due to its mass nature, ceases to be art. Every day, millions (if not billions) of the same type of photos with flowers, cats, plates of food, selfies and other nonsense are uploaded to the Internet, and, oddly enough, all this finds its viewer - "Instagram stars" gain millions of likes for unsharp photos like " me and my cat." Just because their pictures are understandable and close to the majority. Photos of recognized masters have a much lower rating among the general public - they do not understand them. Approximately the same as comparing two areas of music - pop and, say, jazz.
Let's get back to the question - why do you want to learn photography? If you're doing it just because it's "fashionable" or "prestigious" - don't bother. This mod will soon pass. If you really want to "rise above the hustle and bustle", this article is for you!
Some boring theory
First of all, it should be noted that photography consists of two inextricably linked parts - creative and technical.
The creative part is born from your imagination and vision of the plot. Her understanding comes with experience. Photographic luck can also be counted among it - the more experienced the photographer, the more often he is "lucky" with the plot, shooting conditions. When I started my creative path, I looked at the works of advanced authors on photosight.ru and perceived them as some kind of magic. I recently reviewed the list of selected works and realized that there is no magic in them, just a lot of experience and a fair amount of luck :)
The technical part is a sequence of button presses, mode selection, setting shooting parameters in order to realize a creative idea. The proportion can be creative and technical part can be different and depends only on your decision - with what camera will you take pictures, in what mode (auto or), in what format (), will you later or leave it as it is?
Learning to photograph means learning to combine the creative and technical parts in optimal proportions. It is not at all necessary to photograph everything in manual mode (let's leave this to the adherents of the "old school"), it is enough to know the features of your camera and be able to use them in accordance with the shooting conditions. When we see a beautiful picture, it makes absolutely no difference to us how the artist held the brush, how he mixed paints and how high his easel was. It's the same in photography. The main thing is the result, and how it was obtained is completely indifferent to the viewer.
What is the best camera to buy for learning photography?
If you really want to learn how to take pictures, you need a camera, not a smartphone. It is highly desirable that this camera be with interchangeable lenses. Smartphones are conceptually sharpened for shooting on the machine, and even if they have some manual settings. Trying to learn how to take pictures using a smartphone, you will very quickly realize that you have hit the ceiling - there are not enough photo opportunities for further development. The creative possibilities of any interchangeable lens camera are virtually unlimited.
To learn photography, it is not necessary to purchase the most modern and expensive equipment. Now amateur technology has developed so much that it satisfies the requirements of not only amateurs, but also advanced photographers with a large margin.
Now about the cameras themselves (more precisely, about the "carcasses"). There is no point in chasing the most modern models. They are expensive and generally don't have much of an advantage over predecessor cameras. The only thing that can induce a reasonable person to overpay for novelty is some radical updates, for example, a new generation matrix. In most other cases, innovations in photography have a very indirect relationship. For example, the number of focus sensors has increased by 5%, Wi-Fi control, a GPS sensor, and an ultra-high resolution touch screen have been added. It makes no sense to pay 20% more for such innovations compared to the previous model. I do not urge you to buy "junk", but I recommend a more sober approach to the choice between a new product and a previous generation camera. Prices for novelties are unreasonably high, while the number of really useful innovations may not be so great.
Introduction to basic camera features
It is advisable to be patient and study the instructions for the camera. Unfortunately, it is far from always written simply and clearly, however, this does not eliminate the need to study the location and purpose of the main controls. As a rule, there are not too many controls - a mode dial, one or two dials for setting parameters, several function buttons, a zoom control, an autofocus and shutter button. It is also worth learning the main menu items in order to be able to configure things like . image style. All this comes with experience, but over time, you should not have a single incomprehensible item in the camera menu.
Getting to know the exposition
It's time to take the camera in hand and try to portray something with it. First, turn on the auto mode and try to take pictures in it. In most cases, the result will be quite normal, but sometimes photos turn out too light or, conversely, too dark for some reason.
It's time to get acquainted with such a thing as. Exposure is the total light flux that the matrix caught during the shutter release. The higher the exposure level, the brighter the photo will be. Photos that are too bright are called overexposed, photos that are too dark are called underexposed. The exposure level can be adjusted manually, but this cannot be done in auto mode. To be able to "brighten up or down", you need to switch to P (programmed exposure) mode.
Programmed exposure mode
This is the simplest "creative" mode, which combines the simplicity of auto mode and at the same time allows you to correct the operation of the machine - to make photos forced lighter or darker. This is done using exposure compensation. Exposure compensation is usually applied when either light or dark objects dominate the frame. Automation works in such a way that it tries to bring the average exposure level of the image to 18% gray tone (the so-called "gray card"). Please note that when we take more of the bright sky into the frame, the ground turns out to be darker in the photo. And vice versa, we take more land into the frame - the sky brightens, sometimes even whitens. The exposure compensation function helps to compensate for shadows and highlights that go beyond the boundaries of absolute black and absolute white.
Even in the program exposure mode, you can adjust the white balance, control the flash. This mode is convenient in that it requires a minimum of technical knowledge, but at the same time it is able to provide a much better result than full automatic.
What is exposure?
No matter how good and convenient it is, alas, it does not always allow us to get the result we expected. A striking example is shooting moving objects. Try to go outside to take pictures of cars passing by. On a bright sunny day, this is likely to work out, but as soon as the sun goes behind a cloud, the cars will turn out to be slightly smeared. Moreover, the less light, the stronger this blur will be. Why is this happening?
The picture is exposed when the shutter opens. If fast moving objects enter the frame, then during the time the shutter is opened, they have time to move and the photos turn out to be slightly blurry. The time for which the shutter opens is called endurance.
Shutter speed allows you to get the effect of "frozen motion" (example below), or, conversely, blur moving objects.
The shutter speed is displayed as a unit divided by some number, for example, 1/500 - this means that the shutter will open for 1/500 of a second. This is a fast enough shutter speed at which driving cars and walking pedestrians will be clear in the photo. The faster the shutter speed, the faster the movement can be "frozen".
If you increase the shutter speed to, say, 1/125 second, the pedestrians will still be clear, but the cars will already be noticeably smeared. If the shutter speed is 1/50 or longer, the risk of getting blurry photos due to the shaking of the hands of the photographer increases and it is recommended to install the camera on a tripod , or use an image stabilizer (if available).
Night photos are taken with very slow shutter speeds of several seconds and even minutes. Here it is already impossible to do without a tripod.
To be able to fix the shutter speed, the camera has a shutter priority mode. It is designated TV or S. In addition to a fixed shutter speed, it allows you to use exposure compensation. Shutter speed has a direct effect on the exposure level - the longer the shutter speed, the brighter the photo.
What is a diaphragm?
Another mode that can be useful is aperture priority mode.
Diaphragm- this is the "pupil" of the lens, a hole of variable diameter. The narrower this aperture, the more IPIG- the depth of the sharply depicted space. Aperture is indicated by a dimensionless number from the series 1.4, 2, 2.8, 4, 5.6, 8, 11, 16, 22, etc. In modern cameras, you can choose intermediate values, for example, 3.5, 7.1, 13, etc.
The larger the f-number, the greater the depth of field. Large depth of field is relevant for when you need everything to be sharp - both foreground and background. Landscapes are usually shot at apertures of 8 or more.
A typical example of a photograph with a large depth of field is the zone of sharpness from the grass under your feet to infinity.
The meaning of a small depth of field is to focus the viewer's attention on the subject, and blur all the background objects. This technique is commonly used in . To blur the background in a portrait, open the aperture to 2.8, 2, sometimes even up to 1.4. At this stage, we come to the understanding that the 18-55 mm whale lens limits our creative possibilities, since at a "portrait" focal length of 55 mm, the aperture cannot be opened wider than 5.6 - we begin to think about a fast aperture (for example, 50mm 1.4) in order to get a similar result:
Small depth of field is a great way to switch the viewer's attention from the colorful background to the main subject.
To control aperture, you need to switch the control dial to aperture priority mode (AV or A). At the same time, you tell the device what aperture you want to take pictures with, and it selects all the other parameters itself. Exposure compensation is also available in aperture priority mode.
Aperture has the opposite effect on the exposure level - the larger the f-number, the darker the picture is obtained (a pinched pupil lets in less light than an open one).
What is ISO sensitivity?
You have probably noticed that photos sometimes have ripples, grain, or, as it is also called, digital noise. Noise is especially pronounced in photographs taken in low light. For the presence / absence of ripples in the photographs, such a parameter is responsible as ISO sensitivity. This is the degree of susceptibility of the matrix to light. It is denoted by dimensionless units - 100, 200, 400, 800, 1600, 3200, etc.
When shooting at the lowest sensitivity (for example, ISO 100), the picture quality is the best, but you have to shoot with a slower shutter speed. With good lighting, for example, during the day on the street, this is not a problem. But if we go into a room where there is much less light, then it will no longer be possible to shoot at the minimum sensitivity - the shutter speed will be, for example, 1/5 second and at the same time the risk is very high. shakers”, so called because of the trembling of the hands.
Here is an example of a photo taken at low ISO with a long exposure on a tripod:
Note that the swell on the river washed out in motion and gave the impression that the river was not ice. But there is almost no noise in the photo.
To avoid "shake" in low light, you need to either increase the ISO sensitivity in order to reduce the shutter speed to at least 1/50 second, or continue shooting at the minimum ISO and use. When shooting with a tripod at slow shutter speeds, moving objects are very blurred. This is especially noticeable when shooting at night. ISO sensitivity has a direct effect on the exposure level. The higher the ISO number, the brighter the picture will be at a fixed shutter speed and aperture.
Below is an example of a shot taken outdoors at ISO6400 late in the evening without a tripod:
Even in web size, it is noticeable that the photo turned out to be quite noisy. On the other hand, the grain effect is often used as an artistic technique, giving the photograph a "film" look.
Relationship between shutter speed, aperture and ISO
So, as you may have guessed, there are three parameters that affect the level of exposure - shutter speed, aperture and ISO sensitivity. There is such a thing as “exposure step” or EV (Exposure Value). Each next step corresponds to an exposure 2 times greater than the previous one. These three parameters are interrelated.
- if we open the aperture by 1 stop, the shutter speed is reduced by 1 stop
- if we open the aperture by 1 stop, the sensitivity decreases by one stop
- if we reduce the shutter speed by 1 step, the ISO sensitivity increases by one step
Manual mode
In manual mode, the photographer has the ability to control. This is necessary when we need to rigidly fix the exposure level and prevent the camera from being "amateur". For example, darken or lighten the foreground when more or less sky enters the frame, respectively.
Suitable for shooting under the same conditions, such as walking around the city on a sunny day. Once adjusted and in all the photos the same exposure level. The inconvenience in manual mode begins when you have to move between light and dark locations. If we go from the street, for example, to a cafe and shoot there at “street” settings, the photos will turn out to be too dark, since there is less light in the cafe.
Manual mode is indispensable when shooting panoramas and all thanks to the same property - to maintain a constant exposure level. When using auto exposure, the exposure level will depend heavily on the amount of light and dark objects. We caught a large dark object in the frame - we got sky flare. And vice versa, if light objects predominate in the frame, the shadows have gone into blackness. To glue such a panorama then one torment! So, to avoid this mistake, shoot panoramas in M mode, setting the exposure in advance so that all fragments are correctly exposed.
The result - when merging, there will be no "steps" of brightness between frames, which are likely to appear when shooting in any other mode.
In general, many experienced photographers and photography educators recommend using manual mode as the main one. They are somewhat right - when shooting in manual mode, you completely control the shooting process. You can choose the most correct combination of settings for a given from hundreds of options. The main thing is to know what you are doing and why. If there is no clear understanding of the principles of work in manual mode, you can limit yourself to semi-automatic ones - 99.9% of viewers will not notice the difference :)
In reporting conditions, the manual mode is also not very convenient, since you need to constantly adapt to changing shooting conditions. Many do it tricky - in M mode, they fix the shutter speed and aperture, while "releasing" the ISO. Although the mode selector is M, the shooting is far from being in manual mode - the camera itself selects the ISO sensitivity and flash power, and can change these parameters over a wide range.
Zoom and focal length
This is a characteristic that determines the angle of the lens' field of view. The shorter the focal length, the wider the angle covered by the lens, the longer the focal length, the more similar in its action to a telescope.
Often the concept of "focal length" in everyday life is replaced by "zoom". This is wrong, since zoom is just a ratio of change in focal length. If the maximum focal length is divided by the minimum, we get the zoom ratio.
Focal length is measured in millimeters. Now the term "equivalent focal length" has become widespread, it is used for cameras with a crop factor, of which the majority. Its purpose is to evaluate the angle of coverage of a particular lens / sensor combination and bring them to a full-frame equivalent. The formula is simple:
EGF \u003d FR * Kf
FR - real focal length, Kf (crop factor) - coefficient showing how many times the matrix of this device is smaller than full-frame (36 * 24 mm).
So the equivalent focal length of an 18-55mm lens on a 1.5 crop would be 27-82mm. Below is a sample list of focal length settings. I will be writing in full frame. If you have a camera with a crop factor, simply divide these numbers by the crop factor to get the actual focal lengths you need to set on your lens.
- 24 mm or less- "wide angle". The coverage angle allows you to capture a fairly large sector of space in the frame. This allows you to well convey the depth of the frame and the distribution of plans. 24mm is characterized by a pronounced perspective effect, which tends to distort the proportions of objects at the edges of the frame. Often, it looks impressive.
At 24mm, it is better not to photograph group portraits, since the extreme people can get slightly elongated diagonal heads. A focal length of 24mm or less is good for shooting landscapes dominated by sky and water.
- 35 mm- "short focus". Also good for landscape, as well as shooting people in the background of the landscape. The coverage angle is quite wide, but the perspective is less pronounced. At 35 mm, you can shoot full-length portraits, portraits in the situation.
- 50 mm- "normal lens". The focal length is mainly for shooting people not the closest. Single, group portrait, "street photography". The perspective roughly corresponds to what we are used to seeing with our own eyes. You can take pictures of the landscape, but not everyone - the angle of the field of view is no longer so large and does not allow you to convey depth and space.
- 85-100 mm- "portrait". The 85-100mm lens is well-suited for waist-length and larger portraits, mostly in a vertical frame. The most interesting picture can be obtained with fast lenses with a fixed focal length, for example, 85mm F: 1.8. When shooting at an open aperture, "eighty-five" blurs the background very well, thereby emphasizing the main subject. For other genres, an 85 mm lens, if suitable, is a stretch. It is almost impossible to shoot the landscape on it, indoors most of the interior is outside its field of view.
- 135 mm- "close-up portrait". Focal length for close-up portraits in which the face takes up most of the frame. The so-called close-up portrait.
- 200 mm or more- "telephoto lens". Allows you to take close-up shots of distant objects. A woodpecker on a trunk, a roe deer at a watering hole, a football player with a ball in the middle of the field. Not bad for shooting small objects close-up - for example, a flower in a flower bed. The effect of perspective is practically absent. For portraits, it is better not to use such lenses, as the faces are visually wider and flatter. Below is an example of a photograph taken at a focal length of 600 mm - there is practically no perspective. Near and far objects at the same scale:
The focal (real!) distance, in addition to the scale of the image, affects the depth of the sharply depicted space (together with the aperture). The longer the focal length, the smaller the depth of field, respectively, the blurring of the background is stronger. This is another reason not to use a wide-angle lens for portraits if you want background blur. Here lies the answer and the question is why "" and smartphones do not blur the background well in portraits. Their real focal length is several times less than that of SLR and system cameras (mirrorless).
Composition in photography
Now that we have dealt with the technical part in general terms, it's time to talk about such a thing as composition. In a nutshell, composition in photography is the mutual arrangement and interaction of objects and light sources in the frame, thanks to which the photographic work looks harmonious and complete. There are a lot of rules, I will list the main ones, those that need to be learned first.
Light is your most important visual medium. Depending on the angle of incidence of light on an object, it can look completely different. Black and white drawing is practically the only way to convey volume in a photograph. Frontal light (flash, sun behind) hides the volume, objects look flat. If the light source is shifted slightly to the side, this is already better, a play of light and shadow appears. Counter (backlight) light makes pictures contrasting and dramatic, but you must first learn how to work with such light.
Do not try to fit the frame all at once, photograph only the essence. When photographing something in the foreground, keep an eye on the background - it often contains unwanted objects. Poles, traffic lights, garbage cans, and the like - all these extra objects clog the composition and distract attention, they are called "photo debris".
Do not place the main subject in the center of the frame, move it slightly to the side. Leave more space in the frame in the direction where the main subject "looks". Try different options whenever possible, choose the best one.
"Zoom in" and "get closer" are not the same thing. The zoom increases the focal length of the lens, as a result of which the background is stretched and blurred - this is good for a portrait (within reason).
We shoot the portrait from the level of the eyes of the model from a distance of at least 2 meters. Lack of zoom by increasing the focal length (zoom in). If we photograph children, we don’t need to do it from the height of our height, we will get a portrait against the background of the floor, asphalt, grass. Sit down!
Try not to shoot a portrait from a frontal angle (like a passport). Turning the model's face towards the main light source is always beneficial. You can try other angles as well. The main thing is light!
Make the most of natural light - it's more artistic and "alive" than flash lighting. Remember that a window is a great source of soft, diffused light, almost like a softbox. With the help of curtains and tulle, you can change the intensity of light and its softness. The closer the model is to the window, the more contrast the lighting.
When shooting "in the crowd" it is almost always advantageous to take a high point of view, when the camera is held on outstretched arms. Some photographers even use a ladder.
Try to keep the horizon line from cutting the frame into two equal halves. If there is more interesting in the foreground, place the horizon at about 2/3 from the bottom edge (earth - 2/3, sky - 1/3), if in the background - respectively, at the level of 1/3 (earth - 1/3, sky - 2/3). It's also called the "rule of thirds". If you can't bind the key objects exactly to the "thirds", place them symmetrically to each other relative to the center:
To process or not to process?
For many, this is a sore point - is a photo processed in Photoshop considered "live" and "real". In this opinion, people are divided into two camps - some are categorically against processing, others - for the fact that there is nothing wrong with processing photos. Personally, my opinion about the processing is as follows:
- Any photographer should have at least basic photo processing skills - correct the horizon, crop, cover up a speck of dust on the matrix, adjust the exposure level, white balance.
- Learn to take pictures so that you don't edit them later. This saves a lot of time!
- If the picture initially turned out well, think a hundred times before you somehow programmatically "improve" it.
- Converting a photo to b/w, toning, graininess, applying filters does not automatically make it artistic, but there is a chance to slip into bad taste.
- When processing a photo, you need to know what you want to get. No need to do processing for the sake of processing.
- Explore the features of the programs you use. There are probably features that you do not know about that will allow you to achieve the result faster and better.
- Don't get carried away with color grading without a quality calibrated monitor. Just because an image looks good on your laptop screen doesn't mean it will look good on other screens or when printed.
- The processed photo should be "aged". Before you publish it and give it to print, leave it for a couple of days, and then look with a fresh eye - it is quite possible that you want to redo a lot.
Conclusion
I hope you understand that learning to photograph by reading one article will not work. Yes, I, in fact, did not set such a goal - to “lay out” in it everything that I know. The purpose of the article is only to briefly talk about the simple truths of photography, without going into subtleties and details, but simply to open the veil. I tried to write in a concise and accessible language, but even so, the article turned out to be quite voluminous - and this is just the tip of the iceberg!
If you are interested in a deeper study of the topic, I can offer my paid materials on photography. They are presented as e-books in PDF format. You can get acquainted with their list and trial versions here -.
Here are a few basic poses for posing and the main mistakes that most of us make.
Hands on hips is an aggressive posture. In addition, you hide your hands. Show your nails and pull your elbows back. Turn your head a little and you already have an intriguing pose, not an aggressive one.
Don't compress your waist, this will create creases in your clothes that ruin your look.
Watch the position of the hands - avoid tight or unnatural straight arms, as well as elbows exposed to the photographer. Remember to keep your wrists free and flexible.
A light touch to your face with your fingertips and a slightly open mouth can make you more attractive, if not carried away. Do not put pressure on the face, so as not to get the "toothache effect"
Yes, your hands should be free, but they should not hang with whips, you are not partisans on execution. Place one hand on your waist and slightly (slightly!) turn or tilt your head to emphasize the beauty of the face.
Do not bulge your eyes, it looks too deliberate and unnatural. Turn your head slightly, open your lips a little, and you can touch your face - this will be feminine.
Don't squint your eyes, you're not a mole. Your natural eye shape is the most beautiful.
Don't hide your face behind your hands. See what's the difference.
Beautiful poses for a photo shoot
Use your hand accents correctly. Where your hands are, there is the attention of the viewer. Instead of hands on the stomach, it is better to emphasize the beauty of the waist. And it is good to show the shoulders and chest with a more open gesture.
Looking down makes the lips look too big. Better try different angles of turning your head. And don't forget to look at the camera.
Unless you are the wife of an African tribal chief and don't have rings around your neck, don't lift your chin.
Hands should always be relaxed. Just compare these two photos and you will understand why.
When shooting at full height, there is no point in artificially disturbing the natural vertical line. Any pose in which you have to strain to keep your balance, whether it's a squat, or a slight tilt to the side, will make you a broken doll in the picture.
How to take pictures correctly? Here's a little pose secret for successful full-length photos: make sure your body curves like an "S": face the photographer and shift your body weight on one leg and put the other forward. Remember that the arms should be relaxed, the posture comfortable, and the chin slightly raised.
Good photos for you!
Everyone probably knows this situation - you dressed smartly, did an impeccable make-up, took a picture, and the photos turned out to be not entirely successful. Of course, all the stones fly towards the photographer or camera. But, in fact, the quality of the resulting photos largely depends on you. You just need to know a few secrets, and you will always be irresistible in all photos.
How to learn to take pictures - smile and facial expression
A radiant smile always looks more impressive in a photo than a sullen grimace. But, you need to smile sincerely, as if you met a good friend. If you can't seem to smile, follow these tips:
- Pay attention to short workouts in front of the mirror: “try on” a flirtatious, mischievous, intriguing, soft smile. Choose the one that suits you best, and then use it at the moment of photographing.
- A real smile is always accompanied by a barely perceptible spark in the eyes. When photographing, try to remember something funny, then you will laugh more believably.
- Always imagine that the photographer is your loved one, whom you smile at.
- Don't be afraid to make funny faces. It looks much better than the blank expression of a passport photo.
- Never stand directly in front of the lens, so the face is not obtained from a very favorable side. It is better to turn half a turn, while the eyes should not aim at the camera, but at any point around it.
How to learn to take pictures - choosing clothes and masking figure flaws
Preparing for a photo shoot, you need to choose not only the most beautiful clothes, but the one that will hide your flaws and emphasize your dignity. Also note the important nuances:
- Avoid baggy clothing and opt for a flattering fit.
- Wear heels, it will make you look taller and slimmer.
- It looks better clothes made of plain fabric than with motley.
- Do not wear clothes that hide the neck, as well as scarves and jewelry that visually separate the neck from the body.
- Choose the style of clothing according to your age.
How to learn to take pictures - makeup, hairstyle
It’s not difficult to make a hairstyle no worse than that of photo models:
- Long well-groomed hair is a real trump card, so don't hide it.
- If you have wavy hair, give it a natural look. To do this, moisten them with water, shake and let dry without combing.
- Never smooth your hair, this will make your look very strict and rough.
- Complex hairstyles are not the best solution for a photo. They will take all the attention away from you.
If you are going to do a professional photo session, it is better to use the services of a makeup artist. But for simple friendly photos, you can get around on your own:
- Use tonal products, lipsticks, shadows only with a matte effect.
- In the photo, cosmetics of warm shades look more natural.
- Bright pearlescent lipstick in the photo gives a hint of vulgarity, so it is better to use light, muted tones.
- Dark shadows give a very tired look and "throw" a couple of extra years.
How to learn to take pictures - choosing a pose
The final step in getting ready to photograph is your pose.
- Try not to stand straight, it is better to put one leg out a little to the side or turn around.
- Do not hold your hands like two wooden sticks - touch the hair, put it on your waist, take the kitten.
- Watch your posture - take your shoulders back, stretch your neck, tighten your stomach.
Taking pictures is also an art. Train in front of a mirror, look at photos where you turned out just fine, ask your friends for their opinion and then all your efforts will not go unnoticed.
« I always look bad in pictures."- Are you familiar with this problem? Do you want to know how to take a good photo?
Then you've come to the right place. Today we will learn (poses, photos, make-up, clothes).
Step one: look your best
Before you start shooting, be sure to put yourself in order, choose the appropriate clothes and put on a beautiful make-up (a little brighter than usual, but just a little bit).
Many girls are concerned about the question “What and how is it better to be photographed?”. It depends, of course, on the type of shooting (regular or thematic) and your preferences in clothing. But it is worth knowing a few rules on how to take beautiful pictures:
- do not wear clothes "under the throat" - in the photo you will not have a neck;
- it is better to avoid wedge (platform) shoes; they can very significantly change the shape of the legs;
- high heels slim and make taller;
- a photo in a jacket to the waist or a fitted coat turns out to be very successful, as it emphasizes a graceful silhouette.
There are several secrets on how to take a cool photo that will allow you to look wonderful in the photo:
- do not use mother-of-pearl and purple shades in makeup - they will acquire a blue tint in the picture;
- do not line your eyes with a pencil (just a pencil!) - the photo turns out to be unnatural and vulgar. If you want to emphasize the eyes, use liquid eyeliner;
- choose the right accessories (even the shape of earrings can change your face).
In a word, before you start shooting, try to look your best - this is the first secret of successful photography.
Step Two: Correct Postures
Properly chosen poses and photo angles simply work wonders. A professional photographer who knows how to take pictures correctly will always be able to find the right angle in which you will be simply irresistible.
If you can’t afford professional photography yet, then use the following tips on how to take a beautiful photo:
- don't look directly into the lens. When looking directly into the lens, only actors and models who are good at shooting techniques turn out well. If you are not one of them, then it is better to look a little to the side or directly, but not into the lens, but through it (far beyond the lens).
- if you want to enlarge your eyes, look a little up.
- do not look down - it may seem that you have a double chin.
- do not stand directly to the lens. Beautiful photos are obtained when you stand at least a little sideways.
- slightly tilting or turning your head to the side will make your photo more winning and more feminine.
And now attention - super secret. When the photographer starts counting down, look down at your feet. On the count of two, raise your head and fix your eyes on the lens. And smile at the count of three :).
These simple tips on how to take beautiful photos will help you choose the perfect pose and angle for shooting. And remember, even the most famous and beautiful world stars allow themselves to be photographed only from 2-3 best angles (which means that if you look at them from the other side, they are not so beautiful :)).
By the way, see how cool you can take a picture with a guy. And you can look at the poses for yourself in this one.
Step Three: Be Natural
Have you noticed that the best photos are taken when you don't expect to be photographed? That's why photogenic people are people who behave naturally during the shooting.
Do not copy magazine poses, deliberately pout lips or imitate pictures of others. Be yourself and you won't have to think about how beautiful to take a picture while shooting!
Don't focus on being photographed. At this time, try to think about something else (you can even mentally read the verse).
And most main rule successful photo - be sure in its beauty. No matter how beautiful you are, if you stand tight, with a forced smile and in an unnatural pose, then even a professional photographer will not be able to take a good photo and no advice on how to take a better photo will help in this case.
You can leave me a comment for now, and I'll run to take pictures
