By Matsuda M.
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Always have a slight space between is designed around her. the leg and the chair, when possible, as this will slim It should be noted that in any discussion of subject thighs and calves. And don’t allow seated subjects to sit posing, the two most important points are that the poses back in the chair with their lower back in contact with the appear natural (one that the people would typically fall chair back. This thickens the person, especially the torso. into) and that the subjects’ features be undistorted.
If you line your subjects up in a “bow” the group, making the middle of the group step straight line and back up so that you are roughly 25–30 back and the ends of the group step forward so that all the feet or more away from the group, all subjects will be ren- members of the group are the same relative distance from dered sharply at almost any aperture. The problem is that the camera. To the camera, the group looks like a straight at a distance, subjects become unrecognizable, so you line, but you have actually distorted the plane of sharp- must move closer to the group, making those at the ends ness to accommodate the group.
Photograph by Bill McIntosh. 46 • GROUP PORTRAIT PHOTOGRAPHER’S HANDBOOK This is an extremely well-posed and lighted three-quarter-length portrait by Ray Prevost. Ordinarily, you would not photograph a couple from below chin height because you would exaggerate the width of the chin and show the skin on the neck. However, because of the soft core of spot lighting from above, the area under the chins is in full shadow. The photographer also used a long enough lens so that perspective appears normal.
First order algebraic ODE, differential algebraic approach by Matsuda M.
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