Dear Affiliate, As a Flink Learning affiliate, I want to share with you some of the exciting learning activities your customers get when you encourage them to subscribe.  The interactive worksheet, with an appealing character, is much more fun and engaging than printed worksheets. The child sees a number of objects and has to click and drag the one that begins with the letter shown in the screen. He can select a picture and hear the word spoken. The parent can make tens of problems in minutes, providing all the problems the child needs for that letter. Thanks again for being a Flink Learning affiliate. Peter Peter Dublin, Ed.D. President Maestro Learning 24 Chilton Street Cambridge, MA 02138 617-354-7734 peter@maestrolearning.com |
Saturday, March 6, 2010
[Broadcast]:An Engaging Phoinics Activity
HOT TIPS ON HAVING A BEAUTIFUL SKIN
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Natural Skin Care
Natural Skin Care Tips for Healthier, Beautiful Skin
by Kathryn D'Imperio
natural skin care When meeting someone new, most people take notice of the person�s face first. For this and other reasons, maintaining clean, healthy skin is paramount to self-esteem, confidence and even attitude.
Getting healthier skin is not contingent upon high-cost prescription medications or obsessive skin care routines. Modifying your daily routine a tiny bit and upholding disciplined cleansing habits can help to add flawless skin to the list of your best qualities.
Eat healthier
By avoiding foods that often make your face breakout, your skin will be less oily and more resistant to blemishes. Some problem foods that may cause pimples or breakouts include chocolate and other candy, French fries, fast food, pizza and soft drinks.
To get your skin in better shape, you may not have to give up everything that has negative effects on your skin, but rather, eat those things in moderation. Have greasier foods as a special treat or on rare occasion when eating a healthy, balanced meal is out of the question.
Hydrate and exercise
Drinking the recommended eight glasses of water per day coupled with some regular exercise - walking, running, bicycling, engaging in sports - should have a great impact on one�s complexion. Increased blood flow due to aerobic exercise will positively impact one�s complexion with a glowing look to replace dull skin.
Not only will exercise and drinking water help skin tone and texture, but it will also make you feel more energized and great about yourself. By keeping your body in shape, you will feel less stressed and more capable of achieving those things you set out to do.
Monitor sun exposure
By using a moderate strength sunscreen, you will be protecting your skin from sun damage, skin cancer, aging and premature wrinkles. Too much sun can blister one�s lips, leaving them red, sore and charred. Sunburned skin will eventually peel most times, leaving skin areas blotchy and sensitive. The best approach to preventing sunburn and other sun-caused skin problems is to monitor how much time one spends in the sun and to avoid sun exposure by using sunscreen with SPF 15 or greater.
Practice a regular cleansing routine
Cleanse, exfoliate, tone and moisturize�this daily routine should carry you on your way toward healthier skin. Select a gentle skin cleansing solution that works for your specific type of skin - dry, oily, normal. Using your selected product, cleanse face in a circular motion and rinse with lukewarm water, as hot water zaps skin�s moisture.
Follow the cleansing stage with an exfoliant. A granular product is often especially effective in smoothing rough areas and releasing dead skin cells, allowing the face to be better moisturized. Perfect moisturizer
After the exfoliation process concludes, use a toner or an astringent to tighten skin and remove any makeup or cleanser residue. A nice alternative to a toner or astringent would be doing a facial masque at least once a week, which tackles clogged pores while also firming skin and leaving it soft and silky.
Finally, pat skin dry with a soft towel but do not dry up all the water. Apply a moisturizer (with or without sunscreen) to help protect skin from dryness. Those who have oily skin do not have to moisturize as often as those who have dry, normal or combination skin.
By following the daily skin care routine along with drinking lots of water, exercising and protecting your skin from sun damage, you should soon notice positive results. Maintaining discipline and adhering to your goal to achieve healthier skin make the actual task at hand so much easier to accomplish.
Beauty Tips
Eyebrows
Eye Make Up
Hair Care
Hands
Lips & Lipstick
Nail Care
Skin Care
Assorted Tips
Homemade Beauty Recipes
Routine Care
Beautiful Hair
Beauty Foods
Face Care
Natural Beauty
Glossary
Beauty Glossary
Feedback
Your Tips, Comments
Health Tips
Healthy You
Special Care
Acne Problems
Free Samples
Samples of Free Beauty Products
Fun Stuff
Free Greeting Cards
Lyrics
Fitness
Love Poems
Resources
Links
Natural Skin Care
Natural Skin Care Tips for Healthier, Beautiful Skin
by Kathryn D'Imperio
natural skin care When meeting someone new, most people take notice of the person�s face first. For this and other reasons, maintaining clean, healthy skin is paramount to self-esteem, confidence and even attitude.
Getting healthier skin is not contingent upon high-cost prescription medications or obsessive skin care routines. Modifying your daily routine a tiny bit and upholding disciplined cleansing habits can help to add flawless skin to the list of your best qualities.
Eat healthier
By avoiding foods that often make your face breakout, your skin will be less oily and more resistant to blemishes. Some problem foods that may cause pimples or breakouts include chocolate and other candy, French fries, fast food, pizza and soft drinks.
To get your skin in better shape, you may not have to give up everything that has negative effects on your skin, but rather, eat those things in moderation. Have greasier foods as a special treat or on rare occasion when eating a healthy, balanced meal is out of the question.
Hydrate and exercise
Drinking the recommended eight glasses of water per day coupled with some regular exercise - walking, running, bicycling, engaging in sports - should have a great impact on one�s complexion. Increased blood flow due to aerobic exercise will positively impact one�s complexion with a glowing look to replace dull skin.
Not only will exercise and drinking water help skin tone and texture, but it will also make you feel more energized and great about yourself. By keeping your body in shape, you will feel less stressed and more capable of achieving those things you set out to do.
Monitor sun exposure
By using a moderate strength sunscreen, you will be protecting your skin from sun damage, skin cancer, aging and premature wrinkles. Too much sun can blister one�s lips, leaving them red, sore and charred. Sunburned skin will eventually peel most times, leaving skin areas blotchy and sensitive. The best approach to preventing sunburn and other sun-caused skin problems is to monitor how much time one spends in the sun and to avoid sun exposure by using sunscreen with SPF 15 or greater.
Practice a regular cleansing routine
Cleanse, exfoliate, tone and moisturize�this daily routine should carry you on your way toward healthier skin. Select a gentle skin cleansing solution that works for your specific type of skin - dry, oily, normal. Using your selected product, cleanse face in a circular motion and rinse with lukewarm water, as hot water zaps skin�s moisture.
Follow the cleansing stage with an exfoliant. A granular product is often especially effective in smoothing rough areas and releasing dead skin cells, allowing the face to be better moisturized. Perfect moisturizer
After the exfoliation process concludes, use a toner or an astringent to tighten skin and remove any makeup or cleanser residue. A nice alternative to a toner or astringent would be doing a facial masque at least once a week, which tackles clogged pores while also firming skin and leaving it soft and silky.
Finally, pat skin dry with a soft towel but do not dry up all the water. Apply a moisturizer (with or without sunscreen) to help protect skin from dryness. Those who have oily skin do not have to moisturize as often as those who have dry, normal or combination skin.
By following the daily skin care routine along with drinking lots of water, exercising and protecting your skin from sun damage, you should soon notice positive results. Maintaining discipline and adhering to your goal to achieve healthier skin make the actual task at hand so much easier to accomplish.
Saturday, January 23, 2010
POSING TIPS FOR MODELS AND PHOTOS
Preparation
Learn the craft.
Check out magazines for the poses. What works for them will work for you. A photographic model has a set of short duration poses, like gesture drawing poses for an artist's model. Photographers rarely need a model to hold a pose for 50 minutes so consider what you're looking at when you study paintings and sculpture for good poses.
Learn to recognize what mood and style the photograph has, and how that was achieved. Look at the position of the hands and feet, the eyes. Look at the clothing and think about how it was used to reinforce the pose. Be critical of what you look at, could you have done it better?
Make a clipping book.
Keep tear sheets of the photographs you like, and those that give you ideas. Keep them handy and look at them often, there's no sense reinventing the wheel. If someone else has done the work why should you not build on their efforts?
Practice.
Get in front of a mirror and practice the poses you think will work for you. Now invent some of your own, this is easier if you simply take some of the postures you normally use. If you're a dancer, dance and hold a position, if you do yoga, stretch and look at it, if you are a runner, sink into your pace and check what that looks like.
Now is the time to find your good and weak points, decide which features you should put forward and which you should keep in the background. Don't forget to make faces, learn how to give different expressions when called upon. Modeling is acting; you should know how to be angry, shy, sultry and sweet.
Move with grace.
Pay attention to how you move from one pose to another, the smoother you get the better you will be as a model, it's often these transition movements that will actually make the best photograph. Photographers, watch your model carefully, check out the poses between poses and either catch them or ask the model to hold when it's right.
Exaggerate the makeup and clothes.
The camera damps things down, remember to overdo the makeup a bit, and dress a bit more daringly than you might when going to work. Think theatre makeup, the kind onstage rather than the kind in the audience.
Makeup during the shoot.
Check your makeup, or ask someone if it's OK if you think you've disturbed your makeup. Keep your lips moist by licking them regularly. If your mouth is open run your tongue over your teeth as well, to keep them moist and shiny. Photographers don't forget to check the shine.
Shoes.
High heels make long shapely tapered legs with nicely curved calves. They make a more dramatic curve in the lower back that emphasizes the buttocks and the chest.
Props.
For beginning models especially, it's good to have a few props ready. Hands can do some strange things when left on their own; they generally settle down and behave if they're holding something. A model who has trouble standing in an interesting way might find it easier to lean against a stool. Each prop will give you new ideas for a pose, a new look for the image.
Makeup and hair.
The studio should have, at a minimum, a makeup area with good lighting and a mirror. A place to wash up, an emergency brush, hair clips, pins, hairspray, gel, soap, mineral oil and various other items are often needed. Many models will forget to bring these things.
Posing.
Good Side, Bad Side.
Everyone has a few flaws, even if it's just a temporary facial blemish. By concentrating on the other side of your face during a photo shoot you will reduce the amount of retouching needed. If your eyes are different sizes you can minimize the difference by turning the larger eye away from the camera in a 3/4 profile, this will mean the smaller eye appears larger because it's closer to the camera, and the discrepancy will even out. Crooked nose? Figure out which angle works best with your particular dent. Most people will want to put the narrower side of their face toward the camera so if your nose bends to the right, use the right side of your face. This also makes your nose smaller.
Acting as a model.
Every photograph tells a story, try to figure out what story you are telling with each shot and put that face on. If you are sitting on a chair and it's raining you might want to slump a bit, round your shoulders, hitch up your collar and drop your head to keep the water out of your eyes. On the other hand, when the sun comes out you will lift your head and feel the sun on your face, of course you'll smile.
Even if you're doing a product shot, holding up a bottle of shampoo, it's the best shampoo you've ever seen, you're just delighted with it! Make sure your body and face reflect your delight.
What style pose is it?
Pay attention to what theme you're working on. Does the pose call for a direct gaze at the camera or should you be looking down and away. Should your arms be quiet and restful or active and reaching out?
Point those toes.
When you point your toes all sorts of good things happen, your legs get longer, your calves get shapely, and if you're on the balls of your feet your posture gets better. Even if you're just doing headshots you should be aware of good posture. Standing flatfooted can also mean that your shoulders and head go dead. If you aren't wearing high heels, pretend you are by pointing your toes.
Unlock your knees.
Just as you want to point your toes, you also want to keep your knees bent. This puts a curve into the leg, and keeps your posture alive. If you lock your knees the legs bend backward and the emphasis goes onto the thighs.
Head angles.
A full on face shot makes for a round face. It's usually more flattering to turn to a slight angle. Learn how your face looks from a profile to a full face shot and all the angles in between. A good standard angle is a 3/4 shot, with both eyes visible to the camera.
Lines.
For women it's always good to have the shoulders on an angle, and to tilt the head toward the near shoulder, aiming the head and the body in different angles also helps create interest in the shot.
Men should tilt their heads toward the far shoulder and keep their shoulders level.
Smile.
Don't be afraid to smile once in a while but remember that smiles cause lines on the face. A relaxed face with no smile or a very small quirk of the lip combined with alert and sparkling eyes can convey as much emotion as a full bore smile.
If it bends, bend it.
Unlock your joints even when you're using them to support yourself. If you lock your elbow when you lean back on your arms the arm will bend backward and the shoulders will hunch up toward your head. Keep everything nicely curved in the direction we expect to see it bent.
If you're leaning on it, don't lean on it.
Don't put weight on an arm that you're leaning on, instead hold yourself with your stomach muscles and rest the arm as if it's a prop. This will give you a "lighter than air" feeling. Be careful of leaning your head on your hand too, this can scrunch up your face.
Separate whatever you can separate.
Keep the fingers slightly apart and resist the temptation to make a fist, this can make it look like you're missing fingers. Move the arms slightly out from the body, move the legs slightly apart from each other. If you sit on the floor with your knees drawn up, pull one slightly further in than the other. Symmetry rarely looks good in a pose.
Hands.
Hands deserve special mention as they're the second most interesting thing in the photo after the face. The flat surfaces of the hands will become exaggerated in a photo, show the edges instead. Don't point the fingers at the lens as this will give you fat fingers. As mentioned before, bend the joints and open the fingers a bit. Don't clutch at things or intertwine the fingers as this makes the fingers disappear.
Relax.
When the photographer says he's going to shoot you, don't act like you're in front of a firing squad. Treat the camera as if it's a person you're having a conversation with. In fact the photographer will likely be mumbling into the back of the camera so pretend it's his face.
Make wavy lines.
Women should be curvy, even in their posture. Move the hips one way, the shoulders the other, and tilt the head. Think of swaying lines running down through your body. This gives pleasing lines for the eye to follow in the photograph.
Lift your arms.
The chest will raise, the stomach will get thinner, the torso will become longer. Similarly, move the elbows back to open the chest. Push the head upward (but keep the shoulders down). If you're sitting down, rock your hips forward to lift and expand the chest while reducing the stomach. You don't need to be wearing high heels to get that high heel effect.
Don't blink.
Try to blink between exposures, you'll soon get into the rhythm of the photographer and will know when you can blink. As a general rule, when you set your pose, stop blinking, breath in, open the chest, lift the head and think of yourself as being lighter than air. For photographers who have to work with a blinker, try to time the shot for just after they blink.
Hold that pose.
If you've moved into a pose and the photographer suddenly starts to adjust equipment, don't move, he wants to get that shot. Similarly if he moves away from the camera to fiddle with lights or props you can relax a bit but don't move off your mark, he needs you in position while he fixes things. Photographers, when you make an adjustment say "hold that pose please" or "relax but keep on your mark I need to fix the lights".
What to shoot.
Always think portfolio.
Even if you're just doing a portrait you should think of doing a full portfolio type shoot, moving from headshots to a full body length poses. It's a good idea to make it a habit to move from one extreme to another. Since most models will automatically arrive ready for a head shot, it's often easiest to move from there back to the full body shots. Why do they arrive ready for a head shot? Because they sat or stood in front of a mirror which only showed them the head, fixed their makeup and adjusted their jewelry and clothing. They're ready for the head shot.
Head shot.
Always think of a tight, black and white head shot as if for an actor's portfolio. Get in close, make the lighting flattering but slightly dramatic, and do full, three quarter and shallow silhouette shots at least. While you're doing this you can be getting acquainted with the face, and with the model. Next switch to color (if you're shooting digital that just means switching your thinking since you'll likely convert color to black and white later). You may want to bare the shoulders if the clothing is a bit distracting.
Head and shoulders.
Shots from head to mid-chest are also done along with the tight head shot to bring the clothing into the image. There isn't a lot of posing to be done here, but remember to keep the head light, the shoulders down and relaxed, and to use the hands to best advantage.
3/4 length shots.
From head to mid-thigh, this allows you to start working with poses while still staying simple and working with the face as well. In some ways the 3/4 length shot is the most complex. You can start changing outfits now, and using the props.
Full length shots.
Here is where you start working with the body and the poses that involve the legs. You will want to alternate between full body and 3/4 shots as you make clothing and prop changes. It's also not a bad idea to sneak in some head shots once in a while. As the model holds a full length pose the head will come alive and the eyes will sparkle more often than when simply sitting in a chair.
Full length shots are used in a portfolio to show clients a model's body type. The pose should show the figure to best advantage, which usually means narrow hips and wide chest. These shots can be casual, jeans and t-shirt, or more formal clothing as long as it's body-shaping.
Themes.
Once you start the wardrobe changes you need to think about the theme of each photograph. Think how disturbing it would be to see a model in lacy panties and a bra swinging a tennis racquet or taking dictation. Mind you, I'm sure you've seen those exact shots and they work because they are working against type.
For a model's portfolio you should try to get several different themes and make the model look as different, one from the other, as possible. This will show her range of characters and allow her to show that she can work in several different areas.
Formal wear .
Think weddings and the opera. You'll need appropriate makeup and hair for these shots but they're good in a portfolio, often they can be combined with a casual shot to show the model's range.
Club.
Playful and daring. You can go with extreme makeup and poses here. It's often a good idea to turn up the music and let the model dance, just fit in with the music and pretend the strobes are, well, strobes.
Business corporate.
This is sober and subdued but tasteful. Try to imagine walking or sitting around the office discussing work. Smiles will be small and laughter will be minimal but it isn't a serious situation. We like to work right?
Casual.
Relax relax relax. Drape that leg over the arm of the chair if you're young. If you're older, drape the arm across the back of the couch and lean slightly to the side.
Swimsuit.
If you have a great body and it's tight, go for the bikini shot, otherwise a full length suit may be more flattering, especially one that shapes the body. If you're in a bikini for goodness sake remember that you're on the beach having fun, arms and legs all over the place. Police mug shots in swimsuits are not very interesting no matter how good you look.
Lingerie.
A lot of lingerie is more concealing than a bikini but models are often self-conscious in their undies. Make sure the temperature of the studio is warm enough for comfort, and make sure the model feels comfortable. It's rarely a good idea to start the session with lingerie shots, especially if you've never worked with the model before.
Glamour.
Modern "glamour" shots aren't the same as those of the 40s. Think pinup rather than high fashion. Glamour shots emphasize the chest and hips, the curves of the body. The model should, according to modern tastes, look directly at the camera. Posing with the arms up in the hair, chest out, legs crossed suggestively and looking up and away will give the shot an old fashioned feel.
Fine art.
Fine art and nude work is more similar to posing for painting than it is to photography. Conventions will shift a bit and the poses will become more conservative as the model is asked to hold them for longer periods of time. As a model working in this field you should think about how you fit into the artwork rather than try to put your personality forward. You are part of the creation of a piece of art rather than the subject of that artwork.
Fine art nude.
Posing for fine art nudes is difficult. The lighting tends to be very directional and the image is much more about light, shadow and form than it is about the excitement of the body in action. Poses are long and require minute changes in position to catch light from this or that angle.
On the other hand, wardrobe and makeup are rarely a problem.
Fixing problems.
For Pale Skin.
Pale skin will "blow out" easily with high contrast lighting use a more even, lower-contrast lighting setup.
For Bald Men.
Lower the camera position so you aren't shooting down onto the bald spot. Sidelight from the model's eye level rather than use a hair light from above.
Dark or light hair.
If the model's hair is a different color than the background, beware of stray bits that will allow the background to show through, this will make the hair look messy or thin.
Round or Fat Faces.
Shooting straight on gives the face its widest look. Shoot 3/4 and light the face from the side away from the camera (short lighting) this will put the cheek facing the camera into shadow and further narrow the face. Most people have narrower chins than foreheads so shooting from a lower position may also help thin the face. Some people have very square jaws, these too benefit from 3/4 shots.
Thin faces.
Shoot straight on and broaden the light.
Marks on the face.
Wrinkles, scars, prominent pores and acne all benefit from a softer more even light. Concealer can help a lot to fill in problem areas, and the use of shadow can hide some scars. Of course it's also quite tempting to work on these problems digitally as well but the more you do in the studio, the less time you spend at the computer later.
Big ears.
Ears that stick out can be treated like a round face, by shooting 3/4 or profile. They can also be hidden by the hair or put into shadow.
Different sized eyes.
This is often addressed by putting the smaller eye forward, letting the natural tendency for closer things to look bigger in the camera even out the size. This effect will be greater with wider angle lenses since they allow you to move closer to the subject, exaggerating the apparent size differences. On the other hand, you may want to pose the larger eye forward to take advantage of the preference for big eyes humans show. In this case you can throw the smaller eye into shadow.
Deep eyes.
For people with prominent eyebrow ridges or deep set eyes get some light into them by having the model look up, look into the light, or using a reflector or fill light from a low angle.
The nose.
If a nose is big, you can minimize it by aiming it straight at the camera. It may also help to tilt it upward. Most people have a nose that's bent to one side or the other; use this to make the nose smaller by doing 3/4 shots from the side toward which it bends. A large nose can also be minimized by using a longer lens and backing away from the model. On the other hand a small nose is made bigger by shooting it from the side or shooting the profile away from the bend.
Double chin.
Double chins can be minimized by stretching the neck upward and forward and leaning the head toward the camera. Shooting from a higher angle will also minimize the neck.
Glasses and jewelry.
Check the lights to make sure you're not getting reflections from shiny objects that will distract from the photo.
Posing couples.
Pose them in relation to each other, either looking at each other or both looking the same way. Bring them close together with lots of space around them for an intimate feeling.
Posing groups.
If you're shooting a group, it's "a group" so arrange the models in such a way that there's some sort of connection between them. Have them physically touch or visually overlap each other. Watch for people on the end who've been "cast out" and cut off from the group.
Remember those school pictures? Try not to arrange people according to height, let the differing head heights cluster into sub-groups to create some interest.
It's a good idea to try and get everyone wearing clothing that blends, perhaps ask the group to all wear light tops with dark pants. If someone shows up in hot pink and everyone else is in white, you'd better put the hot pink in the middle of the group.
Learn the craft.
Check out magazines for the poses. What works for them will work for you. A photographic model has a set of short duration poses, like gesture drawing poses for an artist's model. Photographers rarely need a model to hold a pose for 50 minutes so consider what you're looking at when you study paintings and sculpture for good poses.
Learn to recognize what mood and style the photograph has, and how that was achieved. Look at the position of the hands and feet, the eyes. Look at the clothing and think about how it was used to reinforce the pose. Be critical of what you look at, could you have done it better?
Make a clipping book.
Keep tear sheets of the photographs you like, and those that give you ideas. Keep them handy and look at them often, there's no sense reinventing the wheel. If someone else has done the work why should you not build on their efforts?
Practice.
Get in front of a mirror and practice the poses you think will work for you. Now invent some of your own, this is easier if you simply take some of the postures you normally use. If you're a dancer, dance and hold a position, if you do yoga, stretch and look at it, if you are a runner, sink into your pace and check what that looks like.
Now is the time to find your good and weak points, decide which features you should put forward and which you should keep in the background. Don't forget to make faces, learn how to give different expressions when called upon. Modeling is acting; you should know how to be angry, shy, sultry and sweet.
Move with grace.
Pay attention to how you move from one pose to another, the smoother you get the better you will be as a model, it's often these transition movements that will actually make the best photograph. Photographers, watch your model carefully, check out the poses between poses and either catch them or ask the model to hold when it's right.
Exaggerate the makeup and clothes.
The camera damps things down, remember to overdo the makeup a bit, and dress a bit more daringly than you might when going to work. Think theatre makeup, the kind onstage rather than the kind in the audience.
Makeup during the shoot.
Check your makeup, or ask someone if it's OK if you think you've disturbed your makeup. Keep your lips moist by licking them regularly. If your mouth is open run your tongue over your teeth as well, to keep them moist and shiny. Photographers don't forget to check the shine.
Shoes.
High heels make long shapely tapered legs with nicely curved calves. They make a more dramatic curve in the lower back that emphasizes the buttocks and the chest.
Props.
For beginning models especially, it's good to have a few props ready. Hands can do some strange things when left on their own; they generally settle down and behave if they're holding something. A model who has trouble standing in an interesting way might find it easier to lean against a stool. Each prop will give you new ideas for a pose, a new look for the image.
Makeup and hair.
The studio should have, at a minimum, a makeup area with good lighting and a mirror. A place to wash up, an emergency brush, hair clips, pins, hairspray, gel, soap, mineral oil and various other items are often needed. Many models will forget to bring these things.
Posing.
Good Side, Bad Side.
Everyone has a few flaws, even if it's just a temporary facial blemish. By concentrating on the other side of your face during a photo shoot you will reduce the amount of retouching needed. If your eyes are different sizes you can minimize the difference by turning the larger eye away from the camera in a 3/4 profile, this will mean the smaller eye appears larger because it's closer to the camera, and the discrepancy will even out. Crooked nose? Figure out which angle works best with your particular dent. Most people will want to put the narrower side of their face toward the camera so if your nose bends to the right, use the right side of your face. This also makes your nose smaller.
Acting as a model.
Every photograph tells a story, try to figure out what story you are telling with each shot and put that face on. If you are sitting on a chair and it's raining you might want to slump a bit, round your shoulders, hitch up your collar and drop your head to keep the water out of your eyes. On the other hand, when the sun comes out you will lift your head and feel the sun on your face, of course you'll smile.
Even if you're doing a product shot, holding up a bottle of shampoo, it's the best shampoo you've ever seen, you're just delighted with it! Make sure your body and face reflect your delight.
What style pose is it?
Pay attention to what theme you're working on. Does the pose call for a direct gaze at the camera or should you be looking down and away. Should your arms be quiet and restful or active and reaching out?
Point those toes.
When you point your toes all sorts of good things happen, your legs get longer, your calves get shapely, and if you're on the balls of your feet your posture gets better. Even if you're just doing headshots you should be aware of good posture. Standing flatfooted can also mean that your shoulders and head go dead. If you aren't wearing high heels, pretend you are by pointing your toes.
Unlock your knees.
Just as you want to point your toes, you also want to keep your knees bent. This puts a curve into the leg, and keeps your posture alive. If you lock your knees the legs bend backward and the emphasis goes onto the thighs.
Head angles.
A full on face shot makes for a round face. It's usually more flattering to turn to a slight angle. Learn how your face looks from a profile to a full face shot and all the angles in between. A good standard angle is a 3/4 shot, with both eyes visible to the camera.
Lines.
For women it's always good to have the shoulders on an angle, and to tilt the head toward the near shoulder, aiming the head and the body in different angles also helps create interest in the shot.
Men should tilt their heads toward the far shoulder and keep their shoulders level.
Smile.
Don't be afraid to smile once in a while but remember that smiles cause lines on the face. A relaxed face with no smile or a very small quirk of the lip combined with alert and sparkling eyes can convey as much emotion as a full bore smile.
If it bends, bend it.
Unlock your joints even when you're using them to support yourself. If you lock your elbow when you lean back on your arms the arm will bend backward and the shoulders will hunch up toward your head. Keep everything nicely curved in the direction we expect to see it bent.
If you're leaning on it, don't lean on it.
Don't put weight on an arm that you're leaning on, instead hold yourself with your stomach muscles and rest the arm as if it's a prop. This will give you a "lighter than air" feeling. Be careful of leaning your head on your hand too, this can scrunch up your face.
Separate whatever you can separate.
Keep the fingers slightly apart and resist the temptation to make a fist, this can make it look like you're missing fingers. Move the arms slightly out from the body, move the legs slightly apart from each other. If you sit on the floor with your knees drawn up, pull one slightly further in than the other. Symmetry rarely looks good in a pose.
Hands.
Hands deserve special mention as they're the second most interesting thing in the photo after the face. The flat surfaces of the hands will become exaggerated in a photo, show the edges instead. Don't point the fingers at the lens as this will give you fat fingers. As mentioned before, bend the joints and open the fingers a bit. Don't clutch at things or intertwine the fingers as this makes the fingers disappear.
Relax.
When the photographer says he's going to shoot you, don't act like you're in front of a firing squad. Treat the camera as if it's a person you're having a conversation with. In fact the photographer will likely be mumbling into the back of the camera so pretend it's his face.
Make wavy lines.
Women should be curvy, even in their posture. Move the hips one way, the shoulders the other, and tilt the head. Think of swaying lines running down through your body. This gives pleasing lines for the eye to follow in the photograph.
Lift your arms.
The chest will raise, the stomach will get thinner, the torso will become longer. Similarly, move the elbows back to open the chest. Push the head upward (but keep the shoulders down). If you're sitting down, rock your hips forward to lift and expand the chest while reducing the stomach. You don't need to be wearing high heels to get that high heel effect.
Don't blink.
Try to blink between exposures, you'll soon get into the rhythm of the photographer and will know when you can blink. As a general rule, when you set your pose, stop blinking, breath in, open the chest, lift the head and think of yourself as being lighter than air. For photographers who have to work with a blinker, try to time the shot for just after they blink.
Hold that pose.
If you've moved into a pose and the photographer suddenly starts to adjust equipment, don't move, he wants to get that shot. Similarly if he moves away from the camera to fiddle with lights or props you can relax a bit but don't move off your mark, he needs you in position while he fixes things. Photographers, when you make an adjustment say "hold that pose please" or "relax but keep on your mark I need to fix the lights".
What to shoot.
Always think portfolio.
Even if you're just doing a portrait you should think of doing a full portfolio type shoot, moving from headshots to a full body length poses. It's a good idea to make it a habit to move from one extreme to another. Since most models will automatically arrive ready for a head shot, it's often easiest to move from there back to the full body shots. Why do they arrive ready for a head shot? Because they sat or stood in front of a mirror which only showed them the head, fixed their makeup and adjusted their jewelry and clothing. They're ready for the head shot.
Head shot.
Always think of a tight, black and white head shot as if for an actor's portfolio. Get in close, make the lighting flattering but slightly dramatic, and do full, three quarter and shallow silhouette shots at least. While you're doing this you can be getting acquainted with the face, and with the model. Next switch to color (if you're shooting digital that just means switching your thinking since you'll likely convert color to black and white later). You may want to bare the shoulders if the clothing is a bit distracting.
Head and shoulders.
Shots from head to mid-chest are also done along with the tight head shot to bring the clothing into the image. There isn't a lot of posing to be done here, but remember to keep the head light, the shoulders down and relaxed, and to use the hands to best advantage.
3/4 length shots.
From head to mid-thigh, this allows you to start working with poses while still staying simple and working with the face as well. In some ways the 3/4 length shot is the most complex. You can start changing outfits now, and using the props.
Full length shots.
Here is where you start working with the body and the poses that involve the legs. You will want to alternate between full body and 3/4 shots as you make clothing and prop changes. It's also not a bad idea to sneak in some head shots once in a while. As the model holds a full length pose the head will come alive and the eyes will sparkle more often than when simply sitting in a chair.
Full length shots are used in a portfolio to show clients a model's body type. The pose should show the figure to best advantage, which usually means narrow hips and wide chest. These shots can be casual, jeans and t-shirt, or more formal clothing as long as it's body-shaping.
Themes.
Once you start the wardrobe changes you need to think about the theme of each photograph. Think how disturbing it would be to see a model in lacy panties and a bra swinging a tennis racquet or taking dictation. Mind you, I'm sure you've seen those exact shots and they work because they are working against type.
For a model's portfolio you should try to get several different themes and make the model look as different, one from the other, as possible. This will show her range of characters and allow her to show that she can work in several different areas.
Formal wear .
Think weddings and the opera. You'll need appropriate makeup and hair for these shots but they're good in a portfolio, often they can be combined with a casual shot to show the model's range.
Club.
Playful and daring. You can go with extreme makeup and poses here. It's often a good idea to turn up the music and let the model dance, just fit in with the music and pretend the strobes are, well, strobes.
Business corporate.
This is sober and subdued but tasteful. Try to imagine walking or sitting around the office discussing work. Smiles will be small and laughter will be minimal but it isn't a serious situation. We like to work right?
Casual.
Relax relax relax. Drape that leg over the arm of the chair if you're young. If you're older, drape the arm across the back of the couch and lean slightly to the side.
Swimsuit.
If you have a great body and it's tight, go for the bikini shot, otherwise a full length suit may be more flattering, especially one that shapes the body. If you're in a bikini for goodness sake remember that you're on the beach having fun, arms and legs all over the place. Police mug shots in swimsuits are not very interesting no matter how good you look.
Lingerie.
A lot of lingerie is more concealing than a bikini but models are often self-conscious in their undies. Make sure the temperature of the studio is warm enough for comfort, and make sure the model feels comfortable. It's rarely a good idea to start the session with lingerie shots, especially if you've never worked with the model before.
Glamour.
Modern "glamour" shots aren't the same as those of the 40s. Think pinup rather than high fashion. Glamour shots emphasize the chest and hips, the curves of the body. The model should, according to modern tastes, look directly at the camera. Posing with the arms up in the hair, chest out, legs crossed suggestively and looking up and away will give the shot an old fashioned feel.
Fine art.
Fine art and nude work is more similar to posing for painting than it is to photography. Conventions will shift a bit and the poses will become more conservative as the model is asked to hold them for longer periods of time. As a model working in this field you should think about how you fit into the artwork rather than try to put your personality forward. You are part of the creation of a piece of art rather than the subject of that artwork.
Fine art nude.
Posing for fine art nudes is difficult. The lighting tends to be very directional and the image is much more about light, shadow and form than it is about the excitement of the body in action. Poses are long and require minute changes in position to catch light from this or that angle.
On the other hand, wardrobe and makeup are rarely a problem.
Fixing problems.
For Pale Skin.
Pale skin will "blow out" easily with high contrast lighting use a more even, lower-contrast lighting setup.
For Bald Men.
Lower the camera position so you aren't shooting down onto the bald spot. Sidelight from the model's eye level rather than use a hair light from above.
Dark or light hair.
If the model's hair is a different color than the background, beware of stray bits that will allow the background to show through, this will make the hair look messy or thin.
Round or Fat Faces.
Shooting straight on gives the face its widest look. Shoot 3/4 and light the face from the side away from the camera (short lighting) this will put the cheek facing the camera into shadow and further narrow the face. Most people have narrower chins than foreheads so shooting from a lower position may also help thin the face. Some people have very square jaws, these too benefit from 3/4 shots.
Thin faces.
Shoot straight on and broaden the light.
Marks on the face.
Wrinkles, scars, prominent pores and acne all benefit from a softer more even light. Concealer can help a lot to fill in problem areas, and the use of shadow can hide some scars. Of course it's also quite tempting to work on these problems digitally as well but the more you do in the studio, the less time you spend at the computer later.
Big ears.
Ears that stick out can be treated like a round face, by shooting 3/4 or profile. They can also be hidden by the hair or put into shadow.
Different sized eyes.
This is often addressed by putting the smaller eye forward, letting the natural tendency for closer things to look bigger in the camera even out the size. This effect will be greater with wider angle lenses since they allow you to move closer to the subject, exaggerating the apparent size differences. On the other hand, you may want to pose the larger eye forward to take advantage of the preference for big eyes humans show. In this case you can throw the smaller eye into shadow.
Deep eyes.
For people with prominent eyebrow ridges or deep set eyes get some light into them by having the model look up, look into the light, or using a reflector or fill light from a low angle.
The nose.
If a nose is big, you can minimize it by aiming it straight at the camera. It may also help to tilt it upward. Most people have a nose that's bent to one side or the other; use this to make the nose smaller by doing 3/4 shots from the side toward which it bends. A large nose can also be minimized by using a longer lens and backing away from the model. On the other hand a small nose is made bigger by shooting it from the side or shooting the profile away from the bend.
Double chin.
Double chins can be minimized by stretching the neck upward and forward and leaning the head toward the camera. Shooting from a higher angle will also minimize the neck.
Glasses and jewelry.
Check the lights to make sure you're not getting reflections from shiny objects that will distract from the photo.
Posing couples.
Pose them in relation to each other, either looking at each other or both looking the same way. Bring them close together with lots of space around them for an intimate feeling.
Posing groups.
If you're shooting a group, it's "a group" so arrange the models in such a way that there's some sort of connection between them. Have them physically touch or visually overlap each other. Watch for people on the end who've been "cast out" and cut off from the group.
Remember those school pictures? Try not to arrange people according to height, let the differing head heights cluster into sub-groups to create some interest.
It's a good idea to try and get everyone wearing clothing that blends, perhaps ask the group to all wear light tops with dark pants. If someone shows up in hot pink and everyone else is in white, you'd better put the hot pink in the middle of the group.
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In fact, this may surprise you but my wife Athena and I have never even had a fight in our 17 years of marriage. Yes, it's true.
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I studied relationships for a long time and took good notes on what things blissful couples do differently than those who have the typical relationship full of ups and downs.
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From there, things started to go crazy as the media started hounding me for interviews left, right and center.
To date, I've published 16 books, helping both women and men with almost every imaginable relationship and marriage problem there is.
Dear Friend,
Are you having problems in your relationship? OR… Do you just want to know what to do should anything go wrong in the future? If yes, then this may be the most important letter you'll ever read.
Here's why:
My name is Michael Webb and while I DON'T have a doctorate in counseling or marriage studies and I DON'T host a radio call-in show… I DO have what most other relationship "experts” don’t have…
…a blissful marriage.
Which is why hundreds of men and women ask for my relationship advice and have done so for 12 years now.
In fact, this may surprise you but my wife Athena and I have never even had a fight in our 17 years of marriage. Yes, it's true.
Of course I know …this sounds bizarre, even impossible but in a moment I'll explain exactly how this was possible. And more importantly, how it's possible for you.
You see, I grew up in a family with 6 sisters. And in my lifetime I've seen them abused by the various men in their lives. Even my mother has the scars from two unsuccessful marriages.
After witnessing this for too long, I decided to be the sort of husband my mom and sisters had dreamed of but never had.
I studied relationships for a long time and took good notes on what things blissful couples do differently than those who have the typical relationship full of ups and downs.
(By the way, nearly all "relationship" books focus on what couples are doing wrong. I'll let you know what couples are doing right.)
Several years later, I released my first book, The Romantic's Guide, which went on to become a national bestseller. It was released in February 2000 and is already in its 6th printing.
From there, things started to go crazy as the media started hounding me for interviews left, right and center.
To date, I've published 16 books, helping both women and men with almost every imaginable relationship and marriage problem there is.
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And $100 or more every hour after that!
I have been working 4 hours a day (yes that's all)
Making $400 a day!
That's $12,000 a month!
That's $144,000 a year!
Non-taxable Money$$$$
All with 4 hours a day!
So tell me, is it worth taking 20 minutes to read this book?
YES I THINK SO!
Now I'm not going to say much more about my system, except this! I'm so confident that you will make money using it that as soon as you click the “get more information” button I will send you the guide for FREE!
I don't even ask you to pay for it!
Now, you might think I'm crazy, but I'm so confident that you will make money using my system that you see the donation box at the bottom of the first page, I know after the first day of using my system that you will want to send me a donation.
I have received thousands of dollars in donations from happy people just like you who are using my money making system to make a fortune, so why shouldn´t you?
If you don't like it then don't pay me a penny for it! Who else will give you an offer like that? No one!
That's because the other guys are not confident that their guide is the best out there - while I most certainly am!
FOLLOW THESE DIRECTIONS STEP BY STEP AND PLEASE USE MY INSTRUCTIONS!
It's as simple as 1, 2, 3!
This is a free service to you and the information provided in this ebook is very valuable, what you do with this opportunity is up to you!
I WANT YOU TO BE AS SUCCESSFUL AS I AM!
To get this informational E-book 100% free to you
Fill out the form located below and you will be redirected to the download page!
THIS SYSTEM NOW WORKS IN ALL COUNTRIES!
Your First Step To Easy Free Income
GET YOUR FREE EBOOK ON HOW TO MAKE $300 IN 9 MINUTES AND $100 AN HOUR AFTER THAT!
Please enter your name and email address into the spaces provided and click the button.
You will automatically be sent to the Money making E-book download page!
A confirmation will also be sent to the email you have provided.
When you confirm that message you will get the free ebook emailed to you as well.
Name:
Email:
Please make sure to check your JUNK MAIL folder or add
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can be confused as spam by some email servers.
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Fill in the email form above for instant access to my
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