How to Use Selective Color for More Dynamic Images

By: Jacob Surland

Semi black and white or selective color photos are quite effective. It’s an old trick by some photographers considered a cheap trick, nevertheless, it is a quite effective one. And just because it’s an old idea it should not hold you back from experimenting with it.

A selective color photograph of the Viking ship “The Sea Stallion” in Roskilde, Denmark.

In this article, you will learn a couple of different ways to make selective color photos and you how to spot or photograph the candidates. It’s not a technique that is applicable to all photographs, but for some, it can make a big difference.
You most likely already know some famous selective color photos. A classic image is of a 7-year old boy kissing a 7-year old girl while holding a red rose, where the flower is the only thing in color. Or a photo of a red bicycle, and everything else but the bicycle is black and white.
These examples are probably part of the reason the technique is considered a cheap trick.

Background information

Before diving into the technique, you might want to know the theory. The pioneer landscape photographer Ansel Adams used a technique in his darkroom to change the exposure locally on various parts of a photo. This way he could make some areas brighter and others darker.
The human eye naturally seeks the brighter parts of a photo and by using this knowledge, Ansel Adams could emphasize what he wanted and guide the viewer around in his photos. This technique is called dodging and burning.

You can use a similar technique with colors. Just as the human eye is attracted to bright areas in an image, it is also attracted to more saturated areas. In this way, it is very similar to dodging and burning. You can use this as a tool to guide the viewer’s eye around a photo.
Just to be clear: It is the difference in saturation that the eye can spot not just high saturation. If you have even saturation all over your photo, you can’t control the eye through color. Increasing or decreasing the overall saturation will not change that situation and if everything gets too saturated it often becomes painful to look at.
If you only turn up the saturation on certain objects of interest in your photo, the eye will seek those out. This way you will be able to guide the viewer to the important objects in your photo.

You can achieve the same effect by decreasing the saturation from everything else but the subject. If you go to the extreme end and completely remove all color, except a few elements, you will have a semi-black and white or selective color photo.
By using this technique you will create stronger photos.

The classic technique to create selective color photos

You can create the classic “boy kisses girl” or “red bike” photographs, but you can also go searching for something else. This example is from the famous Nyhavn in Copenhagen. These old houses are very colorful, which can look great, but also can be quite an eyeful of colors.

By removing colors from all houses except the two yellow ones, the attention is strong on those two houses. Any house or two houses picked to be saturated, would attract attention, but the two picked are good candidates, because:

1. They are both the same color, which creates balance.
2. They are approximately the same size, which also adds to creating balance.
3. Most importantly, they have symmetrical placement in the photo.

Composition

Notice that the houses are placed the same distance from the edge of the frame. That emphasizes the composition and makes it a stronger photo than most other available choices.
Notice also that the windows between the two yellow houses have some color. That is a spice that allows the viewer to discover more subtle details, making the image more interesting to look at.

You can use the selective color approach to create a different kind of composition within your photo. You can plan this when you are photographing. Or, as I did in this case, you can discover it when you post-process the photos. It is the final result that counts, not the path you chose to get there.
The next photo is a similar example from a metro station. Again you can see the clearly separated colored stairs. Just like before, you can also find a little spice in the blue color added to the stairs. You can do that kind of trick to make the image more intriguing.

If you want to create photographs like these, search for something that you can make stand out. Then frame it, like it was more or less the only object within the frame. You have to think of it as a very simple composition, even if it is a busy scene.
When you desaturate the rest of the image, the balance will change. The colored elements will be the primary focus points, regardless of everything else in the photo.

How to make a classic selective color photo

There are several ways to do this, in this example, you will learn an easy-to-learn approach in Adobe Lightroom. First, you have to find the photo that you want to work on and then follow these steps.

Step 1 – Go to the Development Module

Step 2 – Pick the Adjustment Brush tool

Step 3 – Set brush settings

At first, make sure you have edge detection (Auto Mask) disabled and the brush is at 100% flow and 100% density. Then reset all settings (double-click on the word Effect) except Saturation, which you will then set to -100.

Step 4 – Paint everything black and white

Step 5 – Switch to the Erase brush

Step 6 – Paint in the objects you want to have color

Set the size of the brush to something that is fitting for your subject and paint roughly over it. The Erase Brush will remove the black and white, and you will get a colored object.

Step 7 – Zoom in and make sure you have the edges right

Next Zoom in (press Z) and switch between the Brush and the Erase Brush to make a perfect edge.
Depending on your photo, you may have to use either Feather at 0 or you may be able to use Auto Mask, which is the automatic edge detection. In this case, the Auto Mask cannot figure out the edge and I had to use a brush at 0 Feather (hard edge brush).

Remove some colors

You can also use a different approach. Instead of limiting the colors to a specific object, you can remove certain colors. This approach works well on photos that have unwanted colors or a color cast.
In the example below of the Vikingship, the photograph was shot during the blue hour. Because the blue light reflects in the snow it becomes too much and it is not flattering. By removing the Blues and the Cyan/Aquas the photo changes and becomes a piece of fine art. Use the HSL panel to do this.

Just by removing blue and cyan/aqua a photo can become a piece of fine art.

This technique gives photos that have a much more complex separation between the black and white and the colored elements and the viewer can go searching for details. In the photo above, you can find a second Viking ship with Christmas lights on in the background.

Here’s another example from The Scoop in London. There was a light drizzle, which was enough for the blue light to shine and appear to glow into the air. By removing all other colors than blue and purple the photo is changed dramatically.

This third photograph below is from a train station in Geneva.

If you study the photos you can see the colored selections are much more complex and not something you can do by hand.
The photograph from London is about the shape of The Scoop. The original photograph had an orange sky, which did not work well with the blue light of The Scoop. By using the selective color black and white technique, the focus is on The Scoop.

How to remove individual colors

You can very easily remove specific colors in Adobe Lightroom. Find the photo you want to work with.

Step 1 – Go to the Develop Module

Step 2 – Go to the HSL module

Play with pulling some of the sliders to zero and leaving some at 100. You may have to dial several of the sliders to zero to achieve the desired effect.

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Tips for Doing Drone Photography and How it Improve All Your Images

By: Stephen Brock

In this article, I’ll share with you some of my experiences doing drone photography in my first month with my new flying camera. You’ll see how learning to use and fly a drone can help you improve all your photography as well.

Getting into drone photography

A filmmaker friend of mine brought his DJI Mavic Pro (a small drone with a built-in 12-megapixel camera) to our house several months ago. I told him that I’d been thinking about all the photos I could take if I had a drone. He insisted that I try his out, so I did.
Bad move. I probably raved about it far more than was wise. My family took my enthusiasm seriously. Thus, for a combined Father’s Day/Birthday/Christmas present (since these flying cameras don’t come cheap), they got me a DJI Mavic Pro. I then owned a drone. And had no idea what to do with it.
You may be in the same situation if you’ve recently purchased a drone or are considering doing so. If you’re still determining which one to get, check out this helpful overview. Or take a look at these tips and reasons why you might want a drone.

What we’ll focus on here are the issues no one tells you about when you do finally get a drone. Learn how to speed up the learning curve and some surprising discoveries about how using a drone can make you an overall better photographer.

Take time to learn the basics

How long it will take you to learn to fly your drone depends in part on the drone you get. With the DJI Mavic Pro, I spent time reading the manual (somewhat helpful), watching the DJI videos (more helpful) and then watching other people’s YouTube videos (super helpful).
Even if you’re a “forget the instructions, let’s get going” type of person, spend time watching some of these videos. It will be worth the effort since not everything about your drone, especially from a photography perspective, will be intuitive. Besides, you can do it while your batteries are charging.

On most drones, the controller connects to your smartphone. Your phone’s screen becomes your remote viewfinder. Let’s state what may seem obvious but isn’t if you’ve never owned a drone.

You need a smartphone to fly most drones for photography purposes.

It took me three days of trying to get the detested DJI app (just read the app reviews and you’ll see what I mean) to work only to find that it was incompatible with my older phone. I switched to my wife’s phone and voila, everything suddenly worked.
If your drone doesn’t connect immediately once you download the app, it’s likely the app/phone combo. My advice is to focus on solving the phone/app connection first.

Starting to fly

The first time I actually flew the drone, I freaked out seeing it go up so high. The second time, not so much. The third time, I stopped looking at the aircraft (which, DJI reminds you repeatedly, is the proper name for the device, not a drone. Drones shoot missiles and spy on terrorists. Aircraft are, well, aircraft, I guess, even if this one can fold up and fit in a purse).
Instead, I just watched the screen. That is much easier. In short, while you want to have your drone in visual range at all times so you’re aware of hazards (that’s actually the law in most areas), concentrate mostly on your screen and you’ll gain confidence in flying it faster.

Learning how to make photos

I posted my first drone shots on Instagram and found some nice folks out there who liked them and have inspired me with their own drone photos. After looking at their photos (I’m only concentrating on photos initially, videos will come later), it gave me additional ideas on how to use my aircraft as a photography tool.
Here are some of the lessons learned in my first month of flying:

Learn to fly before you learn to shoot

This means finding a really open space and learning the controls well so don’t have to consciously think about every lever and button and what it does. You’ll have plenty of time for making photos later. Get the feel of the aircraft now.

Visualize before you take off

On the Mavic Pro, you get about 26 minutes of flying time on each battery (so definitely consider buying extras). Because of that, try to visualize your shots before you take off so you’re not spending that precious 26 minutes of battery life just flying around aimlessly.
You must realize, however, that when you first start working with a drone, everything will look different from above. Don’t worry. As you get more experienced, you’ll learn how to “read” a scene better and you’ll spend less time searching and more time setting up the shots you want.

Shoot RAW

Consider photographing in RAW (the camera’s native format for images as opposed to JPEGs) if you know how to process them in a program light Lightroom. For me, it is too hard to see all the lighting nuances on my phone screen. RAW gives me more latitude than JPEGs for fixing later.
Consider bracketing your shots as well (if your drone has that feature) to allow for even greater flexibility with exposure.

Don’t let the initial images fool you

DJI’s RAW files look pretty bad right out of the camera. But pump up the Blacks (for contrast) and increase the Vibrancy and the images can be stunning. Overall, the camera and the Mavic Pro aircraft are surprisingly good.

Learn the focus and metering buttons

Switching between the focus and metering buttons is easy once you locate them on the controller. Both are very useful since you get strong contrasts from the air.
At first, I blew out a lot of highlights. Once I learned to meter on the right areas of the scene, my photos improved dramatically. Start by sticking with the auto functions of the camera but quickly learn and use the other focus and metering functions available.

Consider getting a polarizer

A polarizing filter reduces glare but you can’t just twist it like a circular polarizer on your DSLR (it’s a bit out of reach when the drone is 300 feet above you). You can only adjust it by changing the angle of the aircraft which isn’t always helpful when composing a particular shot.
But the polarizer does protect the lens and makes the sky pop in your images. My next purchase will be some ND (Neutral Density) filters to knock down even more of the light and glare. Because you’re shooting from above, you’ll experience new angles of light that you don’t usually get with traditional photography.

Pay attention to the weather

Wind and moisture are big limiters in some areas. I recently returned from a trip to England (yes, most airlines allow drones on board as long as your batteries are in your carry-on) and was only able to fly the aircraft three times in 10 days.

Mostly, it was either rainy (moisture will ruin your battery) or too windy. But I did learn that I can fly in more wind than I initially thought, up to about eight mph of wind. I have gotten the high wind warning on the controller (which warns you about wind, if you’re in a restricted area or are too close to an object), but otherwise, no problems. But use your own discretion as one bad gust could ruin your day and your aircraft.

Don’t fly too high

Overhead shots can become more intriguing when you limit your altitude. As the photo above of the couple reveals (shot at a height of about 12 feet/three meters), you can get great images with a drone that no one but you will even know were shot with a drone.

Play with the color

Because sunlight is hitting the subject from a different angle than you’re used to, that will affect the color of your photos in surprising ways. Some familiar objects such as trees will be more vibrant when shot from above than from the side.
Just be prepared to experiment a good deal in your editing software with color.

Compensate for parallax

There’s a parallax phenomenon that takes time to understand. Compare the photos of two bridges above and below. In the first, I wasn’t directly over the bridge and the photo isn’t as good as the second one where I took the time to turn the drone sideways while rotating it at the same time to get the shot lined up perfectly.

It seems simple until you try it. But with practice, you’ll learn little tricks on how to maneuver your drone to get the shot you want. And the image stabilization, at least in my Mavic Pro, worked better than expected. Thus, if you can line up the shot, you’ll likely get a good image.

Start with photographs

As noted, I’ve held off on shooting more than quick snippets of video. Why? Because with still photography, the aircraft is essentially a floating platform that I can nudge into position. If my turns are awkward, it doesn’t matter.
But when you’re shooting video, flying is everything (or a whole lot). You want your aircraft’s movements to flow smoothly. In my first month of periodic flying, I just wasn’t experienced enough for video. But I did ask my friend Randy (who’s had a drone about as long as I have) about his experience with video.

He noted that a) videos are smoother when you lower the frame per second rate, and b) it’s far better to keep the focus on a single element rather than panning around to capture everything at once.

Learn how to avoid obstacles

In the early stages, you’ll likely be a bit freaked out by trees or other objects that seem to reach out toward your drone. Personally, I haven’t yet gotten close enough for the aircraft to employ its obstacle avoidance procedures.
Randy tested the sensors out by flying his aircraft directly at him. He figured that unlike flying into a tree, he could move out of the way if the sensors failed. As it turns out, they worked great. The aircraft stopped a few feet before him.
You still want to fly carefully, but it is nice to know you have the sensors working for you.

Recognize the limitations of where you can fly

There are restrictions where you can fly your drone (no national parks, no crowded areas, no flying near airports, etc.) but there are still vast regions you can explore by air that you can’t when tied to the ground. Also, scenes that look boring from the ground (a wheat field, for example), take on new possibilities when viewed from above. You just have to rethink what makes for a great image.

Try direct overhead photos

Shots taken directly overhead will likely be more intriguing to you when you first start. Remember when Instagram was first getting going? Everyone took photos of their feet because they were more enamored with the filters on Instagram than in taking great photos.
You’ll likely soon grow to improve and get better shots at angles, but as a beginner, the direct overhead shot is fun because it is a completely new way of seeing things. And don’t rule them out even as you get better. You’ll still find scenes where the direct overhead shot tells the best story.

Compare, for example, the two shots of the wrecked fishing boat above and below. Which is better? It’s all a matter of taste, but now you have options.

Learn to shoot at angles

Angled images are tougher to shoot at just the right height, distance and direction than direct overhead ones. But they don’t scream “DRONE SHOT” the way some higher-altitude-direct-overhead photos do.
Also, a benefit of angled shots is that you can isolate your subject from distracting foreground or background items. For example, in the shot of the ruined church above, using a drone allowed me to avoid several unwanted foreground elements.

Photograph like a designer

Back to direct overhead shots, another benefit is that they can help you think differently about photography. You may, in fact, start perceiving the world more from a design perspective, being more aware of line, texture, patterns, and colors.
You’ll see shapes, arrangements and interesting connections you wouldn’t otherwise just because you’re viewing scenes from different heights and angles. Check out these 11 drone tips for inspiring examples of using design principles in your photography.

The added benefits of photographing with a drone

For most photographers, a good quality drone is a luxury, not a necessity. But its greatest value isn’t just in allowing you to take photos you cannot without it. It’s helping you to make better photos even when you’re not using it simply because it will cause you to rethink how you see a scene and thus make a photo.
When I was in college, I played on the school’s tennis team. Part of the training included a class on how to teach others to play the game. For the month that the class lasted, each participant had to play using his or her non-dominant hand. Not easy.
Shooting with the drone/aircraft is similar. Because it is initially so unfamiliar, it will rewire how your brain thinks about the subject you’re photographing and how to compose the image the best way. Without a drone, your photography will likely be two-dimensional and you’ll probably continue shooting in the same way as you always have.

With a drone, you have to factor in height and different angle possibilities. That, in turn, will affect your more terrestrial shots as well since you’ll see more possibilities than you did before.
It may take time to master drone photography. But along the way, you’ll likely capture some surprising and astounding images. And best of all, you may become a better overall photographer as a result.

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Enjoy your weekend. Here's another free photography ebook.  

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Unleash the power of your DSLR, break free from Auto mode.

This ebook is FREE and yours for the taking.  We routinely post one "freebie" per week.  But, maybe this weeks' selection doesn't quite cover your particular interest in photography.  Maybe Landcapes, Portraiture, or Travel photography are your preference.




       

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Beginner Tips for Posing People with Confidence

By: Andrew S. Gibson

In earlier articles I gave you advice about planning a portrait shoot and some reasons for using natural light. Now it’s time to take a look at something that many photographers find difficult – posing.

The reason posing can create problems is because inexperienced models will look to you for direction. If your model is waiting for you to tell her what to do and you freeze up or don’t have any decent ideas you will struggle to create good photos. It’s up to you to take charge and tell the model how to pose. The key is preparation – you need a set of poses you can suggest to the model.
Update: since writing this post we’ve released our Handy Portrait Posing Guide with 67 sample portrait poses.

Before the shoot

Here are some points to think about before the shoot:
What kind of shoot is it? The posing requirements for a family portrait are very different than a fashion shoot. You can think about posing once you’ve decided what type of photo you are going to create.
Look for inspiration online. Chances are you have a few favourite photographers you follow on websites like Flickr and 500px. You will find some good poses in their portfolios. Download your favourites to your smartphone (or use Pinterest to create a mood board, covered in more detail in my article How to Plan the Perfect Portrait Shoot). Then you have something you can show to your model. Don’t try and commit the poses to memory – you will forget them under pressure.
Match the pose to your model. This is important. You’ll see some wonderful poses in fashion magazines. But many of them need a professional model to carry them off. Your model may not be able to do that, especially if she has a different body type than the people in the magazine.
Buy the Posing App. It gives you over 300 poses that you can access on your smartphone. The best way to use it is to select five to ten and make them your favourites. Then you can show them to your model so she understands the what you’d like her to do.

Screen shots from the Posing App. The line drawings are easy to understand and follow.

The author of the app has written several articles about posing for Digital Photography School you will find useful (click the link to see a list).

During the shoot

No matter how experienced or inexperienced your model is, here are some tips to help you find the perfect pose during the shoot:
Build rapport. This is essential. If your model likes you and sees what you are trying to achieve she will work harder. If you talk to her about things she likes you will see more life in her eyes and get better expressions, including natural smiles. She will be more relaxed. If your model is tense, you are going to struggle to get natural looking portraits. Take the pressure off her and bring it back on yourself. Assure her that if the photos don’t work out that it’s your fault, not hers. Build her confidence.
Look for natural expression. As you talk to your model you will notice natural expressions and mannerisms that you can use. Don’t be afraid to say “hold that pose” or “do what you did just now again”.

I noticed the model had a interesting mannerism so I asked her to repeat the gesture. This portrait is one of her favourites

Adapt poses. When you suggest a pose, such as one used in another photo or from the Posing App, treat it as a starting point, then adapt it to suit your model. If she looks unnatural in a certain pose, then adapt it so it suits her body and the clothes she’s wearing.

The pose on the left is one I found in the Posing App. For the second portrait I asked my model to drop her left arm so I couldn’t see it. Don’t be afraid to tweak poses, sometimes a small change makes a big difference.

Simplify. Keep everything as simple as possible. That applies to composition and the clothes and jewellery worn by your model. If she has too much jewellery on, ask her to remove some. It will improve the composition. If you’re struggling to find a good full-length pose, move in closer and shoot from the waist up, or do a head and shoulders portrait. The background will go more out of focus, and there will be less of the model in the photo.

Simplification in action. The closer you crop, the easier it is to pose your model. This is a good technique to use if you are struggling to make a certain pose work.

Pay attention to detail. Especially hands, which often look better side on to the camera. Look at photos where the model’s hands look elegant or are otherwise well posed, and ask your model to do the same. Check her hair to make sure stray strands aren’t blowing across her face or eyes. Look at her clothes to make sure they aren’t wrinkled or creased in a strange way.
Find something for your model to lean on. This makes it much easier to find a natural looking pose.

Two different ways to use a wall to give a model something to do. The Posing App has lots of poses for leaning.

Use props. If the model has something to hold or otherwise interact with, it gives her something to do. If she is having fun you’re more likely to get a great expression.

The model in this photo is into hooping. Using the hoop as a prop gave her something to hold and added interest to the portrait.

I suggested the model bring her horses along to the shoot. The horses are a natural prop and her interaction with them led to photos like this one.

Over to you

Do you have any tips for our readers about posing models? What has worked for you? Tell us about your experiences in the comments.
Update: since writing this post we’ve released our Handy Portrait Posing Guide with 67 sample portrait poses.

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7 Tips to Get the Best Out of a Model Shoot

By: Stacey Hill

Many photographers want to have a human being in their shot. They may ask friends or family to pose for them or may engage the services of a model, either paid or a TFP (trade for prints) engagement. If you have not spent any time in front of the camera yourself, then understanding the specific challenges of doing the work of a model is difficult.
My advice is to spend some time in front of the camera yourself, either posing for another photographer or doing some form of self-portrait work. This isn’t for you to learn about how to specifically pose a model for certain styles of photography (although this is absolutely necessary) but instead for you to understand what it is like to BE a model.

However, if you don’t opt for that valuable learning experience, take note of these tips instead:

Top Tips to Get the Best out of a Model Shoot

#1 – COMMUNICATE

Most people feel really nervous and uncomfortable in front of a camera. Even an experienced model cannot read your mind and does not know what your intentions are. So before you get started, sit down with the person and talk them through the plans for the shoot.
Explain your concept, share your goals, sketch out how you want the poses to look, and what mood or expressions you are after. One major mistake a lot of photographers make is to treat their model like a living statue, only there to be posed and take direction, and they forget that model is actually a person.
By discussing everything at the beginning, you give the person some structure, context, and understanding of the situation, which helps them be less nervous. It also gives them an opportunity to engage with the process, they may even have ideas of their own which could improve on what you initially had planned.
Making it a cooperative situation builds trust and engagement, lowers barriers, helps relax the model and hopefully give you a better outcome. Constant reassurance and feedback throughout the shoot are also important to keep them motivated.

#2 – COMFORT

Many model shoots often involve the model dressed in clothing that is not always suitable for the environment. When you are standing still in a cold wind wearing a bathing suit, it’s really hard to give off a relaxed summery vibe.
Be aware of the environment and temperature your person is modeling in, make sure they are as comfortable as they can be in the situation. If you have to do a nude shoot, try and do it in a warm heated room instead of outside. It’s really hard to look relaxed when you are cold and shivering.
Discuss your model’s strength and endurance with them in relation to the poses you are doing. Then schedule regular breaks and stick to the schedule. Posing can be quite physically demanding as many poses are quite unnatural to hold for extended lengths of time. Be aware of getting into the zone and shooting for too long and not allowing the model to take a break.

#3 – ENVIRONMENT

As well as the comfort of the model, consider the environment in which you are shooting. Is it inside and private? Is it outside and open to the public? Are they expected to get changed in the back of a car or are there some facilities nearby?
What can you do to make the model feel comfortable in the environment? Would they like some music playing to help get into the right mood? Is there a private space for them to go have a break? Blankets and hot drinks and somewhere to sit down away from the camera?
Perhaps it’s a hot sunny day and they need a break away from the heat and the sun? Have they been standing in front of hot studio lights and been constantly flashed while wearing sky-high heels?
Can they bring along a friend for support and encouragement? Are they able to feel relaxed and engaged and safe while they are working in front of the camera?

#4 – EXPLAIN THE POSE

The way people naturally stand generally looks less than ideal when a shot is taken. Double chins become triple ones, elbows and knees are all awkward, hands on hips or arms crossed in front of the chest, etc., feel comfortable and natural to do, but don’t look so good.
The kinds of things you need to do to your body to get a pose that looks good can be quite uncomfortable to do and hold for long enough to get several shots. The classic “turtleneck” where you push the head forward to get separation at the jawline feels really odd.
So take the time to explain and demonstrate the pose to the person. Give them a chance to experiment and figure out how to get the hang of it. Usually, you will need them to do several things at once – stand in a certain way, tilt the shoulders, put the arms in position, move the head to the right angle, have the hair doing something, etc.

Demonstrate each pose and explain to them why it matters. If you show them the “before” and “after” they will generally understand and be more inclined to make the effort because they can see the difference.
Start with small easy pose setups to allow them to relax and master the basics before going on to the more complicated poses. That is unless you have a really experienced model who is on your wavelength, in which case, go nuts.

#5 – HANDS

Generally, when people are being asked to do something new and difficult, they concentrate on the hard stuff so much that they forget about the unnecessary stuff around the edges. One of those things is their hands, and they can often end up being floppy uninteresting things stuck on the ends of the arms.
Bad hands can completely ruin an otherwise good shot. So pay attention to what their hands are doing, because the model may not know that they need to with them.

#6 – MAKE THEM LOOK GOOD

A lot of fashion photography styles use really artificial poses that look terribly uncomfortable to do. They don’t generally look achievable or attractive to the viewer either, but it appears to be the style of the moment. That might be your desired outcome and I hope you end up with some amazing shots.
However, one of the great things you can do when working with a model is to make them look good in front of the camera in a way they never have before. A lot of that is because people usually don’t know how to pose well in front of a camera. Creating images that make them look good means they then feel good about what is happening.
Being able to offer them some copies they can be proud to show people afterward is an added bonus. If they leave the session feeling valued and positive about the experience, they will be more likely to say yes if you ask them to model for you again.

#7 – ENGAGE THE EMOTIONS

Using a model as a living breathing mannequin is one way to have a model pose for you. For some types of photography that impassive detached style of posing is desired. However, if you want to truly engage the viewer, having some emotion present in the image is more effective.
Really good models can project a range of different emotions, that is what good professional models do and why they get paid the big bucks. Not everyone gets the option of working with models of that caliber every day, so when working with a less experienced model you may need to coach them around the emotional projection.
Asking your model to try and feel a particular emotion can be a challenge for them to do on top of all the posing you are asking. So this is a more advanced step that you may not always achieve.
Talk them through the concept of the shoot – is it a soft spring morning and they are enjoying a walk on the beach in the sun? Are they a cool crisp corporate executive about to give a high-level presentation? A couple of friends enjoy cocktails and nibbles on a summers evening? Help them get into the right headspace to project a feeling or emotion to fully express the pose they are doing.
Sometimes allowing them to move during the shoot or move into the final desired pose can add an extra level of engagement. Both the body and the brain are fully involved in communicating the external expression of the pose. 

To get someone to stand still and look fantastic while doing it, allowing you to take an amazing photo actually requires a lot of work behind the scenes first. When working with a model, remembering that they are a living breathing person is important, they are not just a thing that’s there for you to manipulate into the desired position.
Taking care of your model, providing them with an environment and a situation where they can relax and be comfortable while working in front of the camera is important. Someone who is happy and enjoying their modeling experience is far more likely to provide you with great photos, than someone cold, stiff, miserable and uncomfortable (unless that is the look you are after).
Help them be a good model. Communicate, listen to their feedback, support them and you should both reap the benefits with some memorable images and hopefully a fun experience as well.

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