500 Poses for Photographing Men - Michelle Perkins [7]
TYPES
The three basic types of poses are defined by how much of the subject’s body is included in the image. When including less than the full body in the frame, it is recommended that you avoid cropping at a joint (such as the knee or elbow); this creates an amputated look. Instead, crop between joints.
Head-and-Shoulders Portraits (or Headshots). Head-and-shoulders portraits show, as the term implies, the subject’s head and shoulders. If the hands are lifted to a position near the face, these may also be included.
Waist-Up Portraits. These portraits include the subject’s head and shoulders along with at least some of the torso. In portraits of men, these images are often cropped just above the waist. Waist-up portraits are sometimes considered a type of headshot.
Three-Quarter-Length Portraits. Three-quarter-length portraits show the subject from the head down to the mid-thigh or mid-calf. In some cases, one foot may be visible.
Full-Length Portraits. Full-length portraits show the subject from the head down to the feet (or at least the ankles). In some cases, only one foot may be visible.
FACIAL VIEWS
Full Face View. In a full-face view, the subject’s nose is pointed directly at the camera for a very symmetrical look.
Seven-Eighths View. For this type of portrait, the subject’s face is turned slightly away from the camera, but both ears are still visible.
Three-Quarters or Two-Thirds View. In these portraits, the subject’s face is angled enough that the far ear is hidden from the camera’s view. In this pose, the far eye may appear slightly smaller because it is farther away from the camera than the other eye. The head should not be turned so far that the tip of the nose extends past the line of the cheek or the bridge of the nose obscures the far eye.
Profile View. To create a profile, the subject’s head is turned 90 degrees to the camera so that only one eye is visible.
THE SHOULDERS
In portraits of women, the subject’s shoulders are almost always turned at an angle to the camera for a slimmer look. This is a common practice in portraits of men, as well. However, men may also be successfully posed with their shoulders square to the camera—especially when it is desirable to emphasize the broadness of the subject’s shoulders or to communicate a sense of assertiveness and power. For a natural-looking pose, have the subject shift his weight onto one leg. This causes one shoulder to drop slightly, introducing a sense of ease and an appealing diagonal line into the composition.
THE HEAD
Tilting the Head. Tilting the head slightly produces diagonal lines that can help a pose feel more dynamic. In men’s portraits, the head is traditionally tilted toward the lower shoulder, but this rule is often broken. Most photographers agree that the best practice is to tilt the subject’s head in the direction that best suits the overall image and most flatters the subject.
Chin Height. A medium chin height is desirable. If the chin is too high, the subject may look conceited and his neck may appear elongated. If the subject’s chin is too low, he may look timid and appear to have a double chin or no neck.
Eyes. In almost all portraits, the eyes are the most important part of the face. Typically, eyes look best when the eyelids border the iris. Turning the face slightly away from the camera and directing the subject’s eyes back toward the camera reveals more of the white of the eye, making the eyes look larger.
ARMS
The subject’s arms should be separated at least slightly from the waist. This creates a space that slims the appearance of the upper body. It also creates a triangular base for the composition, leading the viewer’s eye up to the subject’s face.
The subject’s arms should be articulated and not allowed to simply hang at his sides. (Note: This rule is sometimes broken in editorial-style images.) Simply bending the elbows creates appealing diagonal lines in your composition—and placing these lines carefully can help direct the viewer to the subject’s face. In portraits of men,