When producing Glamour model portfolios, the head and its
capability for arrangement of form and its ability to produce
expression, is one means of getting your pictures to talk. If you can
give direction, you hold the master key to it all.
As you become more adept at posing the head you will mentally fit certain types of faces into the positions that normalize or dramatize them. When you can anticipate changes that will take place with each movement, you can mentally arrange the pose before you ask your subject to try it. Thus, you can steer her into movements that result in suggestions (from her) you can use.
Study the features of each face to see whether any corrective positions are needed. Many craftsmen welcome opportunity to dramatize disproportionate features. They find the results more gratifying than compliance with conventional ideas.
By persistent concentration on the varying shapes of the face and the impressions relayed to the viewer by each change of position, you soon begin to grasp qualities that otherwise escape your attention. The curious fact is that once you begin detecting these subtleties you find yourself injecting a certain amount of atmosphere into a picture even before you call upon your subject for facial expression.
When you find these additional means at your command for infusing a picture with meaning (over and above the use of expression) you can emphasize any given emotion dramatically and make any picture remarkably effective in its transmission of feeling.
Completely undirected movement by a model seldom transmits exactly the feeling desired, especially as far as a head is concerned. So most directors prefer to keep inherent control when they are producing Glamour model portfolios.
Built-in guide marks on the model's face tell you quickly just what position her head is in from the camera's viewpoint, and give you a clue as to the probable impression forthcoming.
When she faces the camera, the tip of her nose in direct line with the bottom of each ear, you know the position is centered. When her mouth or chin appear in the line of her ear lobes, her head is lifted, the mouth is emphasized and the mood of the picture will probably intimate sensuousness in some degree.
If the eyes or the bridge of the nose line up with the lobes of the ears, the head is tilted downward, the emphasis will be on the eyes and forehead and an impression of intellect will be stressed or implied.
Sometimes obtaining the exact expression may depend to a great extent on how well you can produce it instead of how well you can explain the mental process that goes into producing it. The most direct approach to obtaining expression when your model cannot understand motivation is to let her imitate it. When that becomes necessary, you are probably the one she will imitate. Therefore it is not stepping outside your realm to practise the expressions that communicate ideas you might want to put across. Thus you can sometimes set the mood and features of your model for camera presentation.
In order to familiarize yourself with the physical movements of the parts of the face, get a model to sit for you and see if you can direct her into the variations of each part. Try them yourself. Notice how much easier it is to shape the mouth by using positions necessary to make certain sounds and words with emotional content.
The mind has begun to coordinate each of the different movable parts of the face when you use words and sounds with meaning. Experiment - see if you can get a better expression by asking your model to use the word Hurrah! than you can by asking her to say the word thaw.
Can you go a little further with this idea and give your model a thought upon which to build an expression? We have also discovered that the right sound can give us accurate control of the actual position of the mouth, and that the right word can also provide meaning that ties the mind in with the expression.
Use some originality in your direction for the very best results from your model and excellent Glamour model portfolios will be the result.
As you become more adept at posing the head you will mentally fit certain types of faces into the positions that normalize or dramatize them. When you can anticipate changes that will take place with each movement, you can mentally arrange the pose before you ask your subject to try it. Thus, you can steer her into movements that result in suggestions (from her) you can use.
Study the features of each face to see whether any corrective positions are needed. Many craftsmen welcome opportunity to dramatize disproportionate features. They find the results more gratifying than compliance with conventional ideas.
By persistent concentration on the varying shapes of the face and the impressions relayed to the viewer by each change of position, you soon begin to grasp qualities that otherwise escape your attention. The curious fact is that once you begin detecting these subtleties you find yourself injecting a certain amount of atmosphere into a picture even before you call upon your subject for facial expression.
When you find these additional means at your command for infusing a picture with meaning (over and above the use of expression) you can emphasize any given emotion dramatically and make any picture remarkably effective in its transmission of feeling.
Completely undirected movement by a model seldom transmits exactly the feeling desired, especially as far as a head is concerned. So most directors prefer to keep inherent control when they are producing Glamour model portfolios.
Built-in guide marks on the model's face tell you quickly just what position her head is in from the camera's viewpoint, and give you a clue as to the probable impression forthcoming.
When she faces the camera, the tip of her nose in direct line with the bottom of each ear, you know the position is centered. When her mouth or chin appear in the line of her ear lobes, her head is lifted, the mouth is emphasized and the mood of the picture will probably intimate sensuousness in some degree.
If the eyes or the bridge of the nose line up with the lobes of the ears, the head is tilted downward, the emphasis will be on the eyes and forehead and an impression of intellect will be stressed or implied.
Sometimes obtaining the exact expression may depend to a great extent on how well you can produce it instead of how well you can explain the mental process that goes into producing it. The most direct approach to obtaining expression when your model cannot understand motivation is to let her imitate it. When that becomes necessary, you are probably the one she will imitate. Therefore it is not stepping outside your realm to practise the expressions that communicate ideas you might want to put across. Thus you can sometimes set the mood and features of your model for camera presentation.
In order to familiarize yourself with the physical movements of the parts of the face, get a model to sit for you and see if you can direct her into the variations of each part. Try them yourself. Notice how much easier it is to shape the mouth by using positions necessary to make certain sounds and words with emotional content.
The mind has begun to coordinate each of the different movable parts of the face when you use words and sounds with meaning. Experiment - see if you can get a better expression by asking your model to use the word Hurrah! than you can by asking her to say the word thaw.
Can you go a little further with this idea and give your model a thought upon which to build an expression? We have also discovered that the right sound can give us accurate control of the actual position of the mouth, and that the right word can also provide meaning that ties the mind in with the expression.
Use some originality in your direction for the very best results from your model and excellent Glamour model portfolios will be the result.
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