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How not to be ashamed of the camera

Many of us, being in front of the camera, feel embarrassed, do not know what to do, where to look, what to occupy hands and what to do with our legs. How to be?

An unsure person depends on the assessment of others, on generally accepted patterns of behavior, familiar ideas. It is limited only to the nearest, visible goals, without using the opportunities available to it as much as possible.

There are two beauty: spiritual and physical. But if spiritual beauty is not transmitted by the chemical reaction of reagents with photographic materials, then physical beauty is quite within its power. The spiritual world is transmitted by means of photography indirectly, with the help of associations, imagination and past experience.

The picture may not take place as a work of art if the photographer or model is roughly and ill-conceived to reshape, modify both himself and the environment. As practice shows, the most successful pictures are the most natural.

Beautiful can only be natural. And everything natural is a manifestation of genuine feelings. Moreover, the desire to look different than in reality, creates an insurmountable barrier in obtaining a really good picture, even from professional photographers. Giving a model image that is not inherent in it will in any case lead to unsuccessful shots.

How to look natural? Start exploring yourself in what position you are, for example, watching TV, standing at the bus stop, standing behind the bar, relaxing on the beach, doing your daily activities. There are not many such poses. To fix these natural body positions for you, and then reproduce in front of the camera, you need to memorize them at the physical level. Having taken a pose, close your eyes and slightly move all the limbs of your body, with your head and try to remember these sensations. In acting, this is called the memory of physical actions.

Then after a while try to reproduce them. It is also necessary to take into account your state of mind at the moment of taking a pose, since any emotion corresponds to a specific gesture.

It is worth noting that in art there can be no sacrifice, except for restrictions from carnal excesses. An artist must live in you who absorbs beauty, mysteries, peripetias, collisions, joys and misfortunes of the surrounding life.

In photography, it is important to be able to reproduce the surrounding life so that it looks real or that the viewer perceives it as real. This can be called aerobatics as a photographer and model.

To look at yourself from the outside, ask your friends or the photographer to fix you in the chosen habitual poses. Now, being in front of the lens, you will have no difficulty in choosing static body positions. Playing sports, dancing, acting skills will greatly replenish your set of poses.

Then the task should be complicated.

In order to give your hands the correct position, you already need to show all the acting skills that you are capable of. Try, for a start in front of the mirror, to find such a position so that the viewer has the feeling that you are holding a specific object: a book, ladle, the skull of Shakespeare’s Yorick, a rattlesnake, or whatever you like.

After this, do the same in front of your family or friends to see how your body sign and body language is understandable to the audience. Now there remains a psychological barrier, the so-called hypnotic lens syndrome.

Usually it is expressed in the following: heartbeat, breathing becomes more frequent, strong pallor appears (therefore professionals try to hide it under the make-up), the forehead is covered with sweat, it dries out in the mouth. There comes a time when the probability of fainting is highest. But after a while, when the threat turns out to be false, everything returns to its place.

There is another extreme when the model is confident that she is in one or another body position, and, despite all the entreaties of the photographer, insists on her. If this behavior of the model is not overcome, then usually the results of the shooting are unsuccessful. The tightness of the model also arises due to the specific relationship between it and the photographer.
Psychologists distinguish three types of views
Business look. He slides over the face of the interlocutor along the lines of an imaginary triangle formed by the eyes and middle of the forehead. It is most suitable for cooperation, as it has a strong influence and shows a serious attitude.

Social look. It slides over the triangle connecting the eyes and the mouth. This type of look deprives the words of every kind of support, no matter how you say them.

Intimate look. He slides over the triangle formed by the eyes and chest line, if the distance between the interlocutors is close, and the line in the thighs, if the distance is distant. This view usually puzzles, or greatly confuses a person, as in real life demonstrates intimate claims. In addition, a long gaze always expresses aggressiveness.

But the photographer, due to the fulfillment of his professional duties, more often looks at the model in this way, evaluating her external data and considering the options for shooting.

To avoid the negative consequences of this sometimes forced behavior, experienced photographers are not silent, but lead a conversation with the model, commenting on their actions so that the model does not create a false perception.

If a photographer is silent during a photography session, the model should take into account the specifics of the profession and relate to the shooting process as objectively as possible.

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