There is one area of portraits that is too often ignored – the evaluation of whether or not it is appropriate to photograph the subject in a certain way. How does one find the ideal pose for photographing a subject?
This question often comes up during the Portrait Photography Retreat.
It’s true that one can play around a bit and that the subjects themselves often expect a photographer to transform them into how they would like to look or what they dream of being. But with what results? The risk of ridicule is high.
To create the photos we see in Vogue and other glossy magazines, makeup artists, hairdressers, stylists, assistants, and location managers are all mobilized along with the photographer. These are usually the standouts on the square, and, of course, the most beautiful models are photographed. These are women who have been chosen for the job among many other gorgeous models.
Many photographers dream of taking similar images, but they have neither collaborators with that level of professionalism, nor Gisele Bündchen, Naomi Campbell or Gigi and Bella Hadid at their disposal. So what do they do? They ask the neighbor who has always dreamed of modeling. And the result? Well, it’s usually not the best.
Talking about this with some of my students, we looked together at pictures by Celeste Barber, an Australian comedian who has gained popularity on the web through her parodies. They are ironic and funny pictures in which she poses like supermodels or celebrities without having the same features. Her intention is to emphasize the difference between that imaginary world constructed by professionals and the reality of ordinary people.
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Yolanda Domínguez, on the other hand, is a Spanish artist who explores our society’s stereotypes and consumerism using irony and decontextualization. One of her best-known works is a video, Poses, in which ordinary women assume poses copied from some fashion magazines in public places. The result is hilarious and thought-provoking.
If we don’t have the resources of a major fashion magazine production, we don’t necessarily have to imitate that setting. Let’s remember Yolanda Domínguez’s video or Celeste Barber’s photos and try to avoid that effect. Besides, a portrait doesn’t necessarily need to take fashion photos as a reference.
For example, this portrait taken by Gian Paolo Zoboli (a student of mine) has a balanced composition, good lighting, a strong impact and, most importantly, the subject is real. The girl is not swaddled in a leopard suit and isn’t pretending to be what she is not. The portrait is somewhat intimate, hints at the subject’s mood and is aesthetically harmonious.
To arrive at a simple, impactful result like this, distractions must often be removed rather than special effects added. A few essentials guarantee a stronger result than contrived clothing or a forced pose.
To find the ideal pose to photograph a subject, it is often sufficient to observe him or her when the camera is not in hand. Without the lens pointed at them, a person generally assumes natural, spontaneous poses. Then, during shooting, it will suffice to remember and suggest those very poses as a starting point.
If, for some reason, these suggestions are not enough and the photo’s setting is not convincing, you can say, “Okay, let’s take a break.” Usually, your subject will release the tension and assume a natural pose to rest. That’s the time to shoot!