Juditha makes this comment, "I immediately forgot everything I had planned for and almost everything I had learned. Ugh! I had poses in mind that I totally forgot and I didn't know what to do with the 3 of them." I will bet this has happened to you also! So here is what I do to prevent this.

1. Get all the information that you think you may need from the client when they schedule the session. Things like where will this portrait hang, in the living room? In the den? In the family room? (This will get them thinking about a larger portrait than a "big" 8 x 10.) Ask what are they are planning to wear, and if it is shorts and spaghetti straps or tube tops, strongly make suggestions about proper clothing for portraiture (no shorts, no sleeveless blouses, etc.) Ask is this going to be casual or formal portrait, indoor or outdoor. What are the ages of the subjects and approximate heights, any physical handicaps of any of the subjects and does the caller have a particular style of portraiture in mind. Lastly did she see a portrait somewhere that she liked and is expecting you to do this same type of image. If so did we do it or did another photographer do it. If it was another photographer can she obtain a copy so you can see it? At the very least can she make a drawing of the pose?
2. Now that you know what the caller wants, begin to plan the session. If you have a "cheat sheet" showing the pose(s) get it (them) out study it (them) and then place it (them) where you can easily reference it (them) during the actual shoot. An hour or two before the subjects get to the studio, set up the background, any props and roughly position the lights. Take your meter readings on the fill light, hair light, background light and kickers (if you are using them) and make sure they are all identical. Then meter the main. It should be about 1 ½ to 2 stops more than the fill reading and it should read the same at the position where you plan on posing each subject. You may have to feather it A LOT to get the same reading at each position but it can be done. Set the correct aperture into the camera, and then place your gray card or zebra card in the scene and while using the lens you will be using during the shoot make one capture and then LOOK at the LCD screen and make sure all of the lights are firing and that the scene appears correct. This way there are no "handheld meter was set at ISO 100, camera was set at 3200" surprises after the subjects have gone home.
3. Expect surprises! Mom said formal, subject (usually male) arrives wearing white sneakers because he couldn't find his black shoes. Photoshop to the rescue!
4. Sit and chat for a few moments in the waiting room to allow them to unravel a bit.
5. On the way to the camera room I usually tell them this will be more fun than having blood drawn, but not by much. SMILE AND JOKE A LOT.
6. Show them to pose you have chosen so they have an idea of what they are supposed to do and look like, then you do the pose while they watch you do it, then you pose them one at a time. I usually start in the middle and work out. EVERYONE should be at a 45° angle to the camera whether seated, standing or kneeling.
7. After they are all posed carefully look at the scene for any obvious irregularities and fix them. Finalize the position of the main light and make the first capture and closely study the screen. You may be surprised to find that what looks OK to the naked eye can and does looks bad to the camera. If anything looks out of place fix it now. Ask yourself is the overall lighting good? Is the hair light encroaching onto the faces of anyone (you will probably have to shut the main light modeling lamp off to check this.) Is the background light hidden behind the center subject? Is the main light rendering good shadows? Did anyone move after you posed them (children are especially bad for this.) If everything looks good say so to them and then shoot at least two to three times as many captures as there are people in the image.
8. Use several poses. Switch the center person with the outer two (in the above example.)
9. Before they leave re-check the LCD screen to make sure you didn't accidentally bump any camera controls to the point where it will negatively affect the captures. If mom wants to see them, let her as this will build enthusiasm to see the final images.
10. However you proof them is up to you but cull any captures where someone's eyes are shut or they are looking away or they moved or whatever.

Benji's Book Posing and Lighting

My full color 8.5 x 11 inch glossy 44 page book on how to pose and light the high school senior girl is in my hands are ready to be shipped. It has 44 different poses in it, including head and shoulders, waist up, 3/4 and full length poses. Twenty six poses are shown without a prop, most of the rest of the poses are with chairs that can be bought locally in a second hand furniture store (or new!) I also show a steel "school" chair that I have modified, and I've included instructions how to do it. Four pages of lighting diagrams and five wide angle shots showing the entire scene, then the actual close up shot of that same image so you can see just what the heck the rest of her body is doing to get that great close up shot! LOTS of posing and lighting tips in easy to understand language. Poses for the larger gal as well as the size 6 senior are shown. This is a "lay flat" book that you can show to your client and let her choose what she likes thereby eliminating poses that will not sell.

Benji's Video Photographing The High School Senior in the New Millennium

How to order:

• The book is $39.95 plus $5.05 shipping by USPS Priority Express Mail. Non-United States delivery $55.00
• The DVD is $40.00 shipped (via USPS express).
• Pay Pal to: ben@sonshinestudios.com
• Credit card orders call 260-820-0047
• Money order or checks mail to:

  Sonshine Studios
  109 N. Main St.,
  Bluffton, IN 46714
  USA
  

• Satisfaction guaranteed.
• Contact Benji at ben@sonshinestudios.com