Are You Considering Modeling Classes? (Part 2)

Continued from Are You Considering Modeling Classes? (Part 1)

We all can show emotion. Make a list of all key emotions (hate, love, anger, sadness, longing, happy, etc.) andmodeling-classes practice those expressions in front of a mirror. After you have practiced for a while, try them on a friend and see if they can tell what emotion you are conveying.

The idea is that when you are in front of the camera and the photographer wants you to look longingly into the distance you know how to do that. When you are in front of the camera lens your body and how it is positioned become a critical element in making the photograph successful.

Learning how to move in front of the camera begins with some basic principles.

  • Lines of Force: There are certain principles of design that apply to any visual art. With a model in a photograph your body works as a compositional element.

All the basic rules of design apply to how you position your body.

Learning basic design rules can help you understand why an arm should go one way and a leg the other way, and why when the rules are broken a whole different message is given.

  • Non-verbal communication: Certain body positions communicate different messages.

By learning these body positions and recreating them in front of the camera you can communicate a powerful message.

  • Symbolism: This is a refinement of understanding of non-verbal communication. This is the old nature verses nurture debate. There are certain body positions that have specific meaning with in a culture context.

There can be body positions that will mean something in one culture or for one group of people and mean nothing to another.

What is meaningless in on culture can be a great insult in another.

  • Acting versus reacting: Photographers can get the pose they need by the modelsacting or reacting.
  • Acting or directional modeling: The scene is set, direction on what is needed from the model for expression, look and pose is given to the model, and the model must provide what is needed. A model that can accomplish this is very valuable.
  • Reactive modeling: With this type of approach an environment is created, or external forces are applied and the model reacts to the situation.

The model’s personality is important and the shot is achieved through improvisation and spontaneity. The question is whether it works or not and most of the time if it does it is usually the exception.

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