1. Leave visual space around the waist
Everyone wants to look slimmer. One of the simple ways you can do this is to show your “natural” waistline without any extras. I mean the visual isolation of the waist so that it does not look wider than it is. The hand pressed to the body is not visually separated from it and adds the width of the waist. But if you move your hand a little forward, space will appear, so nothing will be added to the size of the waist.
This rule applies not only to hands. Everything in the background behind the model can create this effect. It can be for example other people, tree trunks, lampposts.
2. Turn your shoulders
This is a very simple but important tip. If a person is standing exactly in front of the camera, she looks bigger. This is good if you are shooting a football player or director of a big company, but is not very suitable for shooting female portraits. Turning slightly, you will demonstrate a more beautiful profile and will look slimmer.
3. Do not show whites of the eyes
If you want to shoot a distant dreamy gaze away from the camera, do not just look into the distance. Focus on a specific object behind the photographer.
In general, the eyes should be directed to the same place where the head is turned.
If in the photo in profile or in three quarters the eyes really looks in the direction of rotation of the head, it seems that they are deployed from the camera more than the face. This feeling can be smoothed out if you slightly adjust the direction of your gaze by slightly turning your eyes towards the camera.
4. Neck, head tilt and shoulders
Tilting the head to the right or left, forward or backward involves movement or action. The full-face position is usually formally meaningful and does not involve action. Therefore, when the head is at rest and the shoulders are straight, the head should not be tilted to the side.
However, if the portrait vividly displays movement or suggests a plot, it is usually required that the head be tilted. The tilt of the head must always be compensated by lifting the shoulder toward which the tilt is made. When the near shoulder is lowered, the imperfections of the neck are emphasized. If the shoulders are deployed at a certain angle, the shoulder closest to the camera should be raised, then it will be able to hide the tendons of the neck, usually manifested by strong turns of the head.
The hands are so expressive that we poorly perceive any pose that deprives them of this expressiveness. A completely relaxed hand can indicate a complete loss of personality.
The hand looks best when it is not parallel to the camera, but turned by the edge of the palm or is in a three-quarter position relative to the lens. Such angles noticeably reduce the massiveness of the hand and at the same time emphasize its expressiveness. Try to find your position for each hand. Or you can show only one of them in the portrait.
6. Crossed fingers
A very common mistake, often giving out the excitement of the model - crossed fingers. There was an idea that crossed fingers cause negative feelings. In the artistic composition, it is generally accepted that knotted or crossed fingers indicate that a person is under the influence of something overwhelming.
The joints of the wrists, of course, are directly related to the hands, and therefore the same problems apply to them as to the position of the hands. A beautiful pose of a hand can be damaged by an inverted wrist. When working with the wrist, as a rule, several standard errors occur.
Bent wrist - when an excessive bend or rotation of the wrist looks like a consequence of an accident or is perceived as a separate object from the model.
A common mistake in the hands position is the “stump”; it occurs when the forearm is hidden or almost hidden behind the shoulder.
In this position, the elbow is exposed, but nothing is attached to it. A sufficient part of the forearm should be shown so that the structure is obvious and there is no suspicion of amputation.
It is also better to exclude any postures with crossed arms. Crossings are not very aesthetic and are questionable in terms of composition. The cross is a clear confrontation of forces that does not lead to any positive result.
Crossed legs. In such a position, it is undesirable for the leg located closer to the camera to be on top.
When shooting a “nude” and in tight clothing, make sure that your hips do not touch any surface with their entire area. In this case, the lines of the legs, which play a large role in the transfer of the shape of the body as a whole, are distorted. Especially avoid such "flattening" of the legs if the model is prone to obesity. You can solve this problem by choosing a different pose.