The “Hers” blog Facebook page has a “Posing for one” guide. I think that the negative reader comments are interesting:
The right way to make some one look better ????? In who’s eyes !!! That’s awful I’m sorry but this wrong on so many levels…so thinner arms make the shot better ??? Really come on this is hiding who you really are it’s as bad as photoshop …if you have fat arms or belly or bum so what you don’t look any less sexy ..in fact if you show your flaws and own them with confidence there is nothing more beautiful or sexy than that !!!!fact!!!!
This is silly. People, love yourselves for who you are, not for what you think is the socially acceptable version of beauty.
She looks thin whatever pose she makes cause SHE.IS.THIN
When you put a set of images in front of a subject, which ones do they want? The ones with the better poses. Plus: posing-well is easier, and more accurate, than digital editing.
Here are some posing and portrait guides from Digital Camera World:
It’s quite common for photography writers to write something like, “The human eye… adjusts the colors you see,” whenever discussing white balance. I never encountered one of these articles that also referred to scientific research, and I am unsatisfied with the explanation.
For one thing: it’s not consistent with anything that I learned in physiological psychology or psychophysics regarding vision.
For another thing: it is extremely common for scientific-thinking people to disprove much of what photographers teach.
For another: it’s not consistent with my personal experience, which is more like this:
I don’t believe that my “human eye… adjusts the colours [I] see.” I am very aware of color temperature. I suspect that most photographers develop this awareness, and some people have always had it.
When I am in an environment with soft white light, that’s what I see, but it’s everywhere. It’s even affecting the color of the photos on my wall. If those were white balanced, then the light from the too-warm bulbs is affecting the colors of those photos exactly the same way that it’s affecting everything else in the room, so it’s tolerably similar, but not changed by my eyes.
Some say it’s the “eye” that adjusts, some say it’s in the “brain,” point is, you DO adjust to a “normal” WB. If you’ve been inside with a bunch of tungsten–especially low-light, like in a theater–and then suddenly go outside, the world will be blue-shifted for a few seconds while you adjust.
I make temari (embroidered thread balls), and I’ve got one that’s got a design in blue and three shades of purple. Thing is, in dim light, your eyes will try to convince you it’s red, yellow, green and blue–that you’re just seeing it in a different “white balance” than you really are.
She gives an example of an adjustment here, but I am not convinced it is. To me it looks like an example of becoming aware of the different colors of light, but I am always aware of them, and people that think about light will be too.
The “human eye adjusts” isn’t a scientific explanation, it’s an expectation. Photographers think about white balance this way, because that’s what they have been taught, but in reality, they do see three shades of purple as non-purple, because there’s no real adjusting going on.
That said: adjusting white balance in your image is important, because the colors in your photo are affected by the light that you are viewing it in, exactly as much as every other color that’s in that same light. Your photos won’t look “right”.
On the other hand, by all means: monkey with white balance in order to meet your artistic goals.
The video exclusively uses the onOne Photo 10 suite. Instead I copy the new mask from onOne into Photoshop and use it there. I find that easier to do than using Photoshop’s masking tools, and it’s more flexible than limiting myself to onOne’s suite.
I usually only post videos that I need to use in the future. That means that you won’t see the most common photography and post processing tasks here. Those are easy enough to find via Google.
The next step would be to consider adding weak lights behind the subject: either to light-up the background, or to highlight the subject’s hair. A third light isn’t needed here, because the white backdrop reflects so much light.