Shoot: Posing Techniques for Men
It is going to be a fantastic day today is the last day of our three day course digital photography wantto one and I hope that you're able tio pick up some tips and techniques that you can use for your own photography and create beautiful photographs so today is the day where we really get tow around things up and bring it all together I'm going to cover some posing techniques again, which we did yesterday too but I know there were some people in the chat room that we're asking about posing techniques for men and we have a great model here today that's going to be doing very masculine poses for us so we'll come up with all kinds of ideas imposes that we can share with you and also I wanted to show you some different lighting techniques yesterday we covered just a couple basic ones today I thought we get into something maybe a little moody and then show you a little trick that I do with the home studio lights that will be using using a soft boxes to create a totally different look and l...
ighting effect andi also just talk to you about you know you are all beginning photographers perhaps maybe you're a little bit more advanced, but if you'd like some tips on, say if you had possible a photo shoot session with a possible client maybe someone's coming to you and wants their portrait taken it's just someone you know but it's a good idea to find out more about what they want for a particular portrait so you can give them exactly what they need. So we're going to cover all that today and it will be really fun. I promise on we'll be working with the home studio lights now I have ah, a couple of them over here only grab one and show you we are working with constant lights, so constant lights means that they are always on once I turn it on here, let me turn it on and I'll show you so this constant lighting is great to begin learning about lighting with because what you see is what you get and you know, I always try to stand in the best lighting possible, so these happen to be daylight balanced soft boxes when I say soft box, I have a diffusion panel here on the front of it, and I'll show you that easily comes off and I've got a bare bulb in here which you may not be able to see because it's so bright but it's a cool to the touch daylight balance fluorescent I say daylight balance that's something we covered in the first day of the course, but for those of you that we're watching on the first day just so you know it talks we talked about the color of light that every light source has a different temperature to it and sometimes that can translate into a color cast in your images but daylight balanced is about the same temperature as the daylight that you may say see through a window so that's what we're doing here in the studio is we're also working with some window like that we have back here and we can incorporate that in and mix it with this light and it will look great in the photograph because we won't have different colors going on in the same picture as far as the light goes so that's what the whole daylight balances about with this so that's we're going to probably use we'll start with one and maybe we'll use two of these lights maybe three I don't know we'll see what happens and that's just it sometimes you want to experiment and just see how things look you might have a plan to start with but then as you start working with someone in front of the of the camera you may come up with other spontaneous ideas so sometimes what I'll do is I'll have a little checklist of things that I want to cover when I'm shooting someone whether it's a model or friend or family member but other times you might it might just come up with a wild idea at the last moment so you don't have to be totally structured about it I guess this is the point you can really play and that's what that's what I like to do and I think that's what really can help inspire your creativity too okay, so I'm gonna move this off set just a little bit and what I'd like to start with is sure it's on the way um, why don't I bring in our fabulous model eric and you could meet him and we'll be working with him today shooting pictures eric, thanks so much weight just hug here all the time. It's creative live love well, thank you why don't you go ahead and just have a seat to start with? And while he's while eric sitting here, I'm going to kind of move some lights around and just show you a couple different setups that we might start with and then I'll start working with the camera and talking to eric and working out how we're actually going to do the shoot. All right? So eric looking good he's got on a dark blue shirt, which is a nice it's, a solid color and that's oftentimes if you have a portrait shoot going on it's a good idea two solid colors just aren't that distracting on camera if you have someone with a shirt with a logo on it or lots of stripes and wild pattern, then the picture becomes all about that shirt and you really want the emphasis to be on their face and their personality and bring that out so he's he's got on a great shirt and he is ready to go ok so I've got this constant light here and it's turned on and it's just by the way it's just plugged into the electrical court over here it's like a regular goes into a regular outlet in your home and these lights take up very little power like since they're fluorescent I think it's eighty five watts that it draws out of your household electricity is it's not going to blow anything up but it puts out about two hundred equivalent of two hundred sixty watts of light power on someone so it's nice and bright and with one light we've got about two hundred sixty watts of light hitting him but I've also got some window light over here so I'm working with that too and kind of balancing the two and I'll just be looking at his basically studying the light on his face to see how things look where the shadows are falling and as we talked about that in some of our other segments talked about the quality of light and the direction of light so I'm going to be mentioning some of those things as we move through this because we are tying it all together today and kind of building upon some things that we learned in some of the other some of the other segments okay, all right, so I've got my light here, and as we talked about light, you know that if I get it closer to him, it's obviously going to be a bit brighter on the farther that I pull it away, it becomes softer on his face, so I'm thinking I may get it oh, say, about three feet away from him at about a forty five degree angle, and I've raised the light stand up to, you know, it's about five feet it's often good if you can direct the light on someone from above a little bit above their eye line, as opposed to say underneath, you have to be very careful about that, especially if you've got someone standing up and you've got your light source. You don't want it pointing up underneath them because it would give them that halloween sort of scary look, which could be good this weekend, I don't know, but in general, it's usually not a good idea. Ok, so I've got a position about three feet away at a forty five degree angle from eric and remember, on the top here, I have a little kind of swivel button that I can loosen up and move this light any way I want. So I'm just going to have a kind of pointed right down at him and I want to make sure as I'm looking at eric that I see a catch light in his eye which I do and that's that little reflection of whatever your light source is so I can definitely see it so that's good just a couple of things you want to check for and he looks he looks great so I'm going to grab my camera and then we'll just kind of start I'll take some shots and um see how they look and they adjust my settings and as I'm talking you through this I also want to mention that if you are taking pictures of someone whoever is in front of your camera even if they're a professional model you cannot treat them like an object you can just go up and start going click click click click because it's not going to make them feel good you really want to talk to them and see you know hey, you know what? Where did you get that shirt or where do you live or you know if you don't know that start building up some kind of report and talking to them and telling them ok, that looks great when you turn that way but you know, maybe sit up a little bit, okay? I like it better when you do this those are all positive pieces of feedback you want to make sure that you don't say something like, oh, that looks terrible don't do that because it's going to make them feel bad and unless that's you know the kind of look that you want on your your subject's face, I don't recommend being negative, you know you want tio, you want to give them positive feedback, and I know sometimes this could be a lot to deal with, especially if you're working with all the the buttons on your camera and you're trying to figure out what is that exposure setting I'm supposed to use? And oh, that's why I mentioned it might be good sometimes to start in program mode, on your camera, on your exposure mode on your camera if you have a dslr and a lot of compact cameras also have a program mode and that's basically the sophisticated automatic setting so your camera is going to already make all the exposure decisions for you. But you do have control over your I s o, which is your cameras, sensors sensitivity to the light. So right now we have a good amount of light in here, but you know, I'm not quite sure what my reading should be, so sometimes it might be good to take a picture and p for program and then look at my settings afterwards and see what did I get? What is what is the camera telling me that I should set my camera to if I decided to go to manual so often times is a good place to start is just shooting people programs so eric you're looking great I'm just gonna have you kind of lean forward maybe lean forward on your your knee a little bit coming in towards me and sort of think about where the light is sorry about that and this looks great I'm just going to take a shot and see how the lighting looks and eric this is what I'm just doing right now is kind of checking, lighting and everything and trying to see how things looking right now my because I'm using p for program it's telling me the settings up here on the screen and it just automatically chose exposure settings right now. It's one thirtieth of a second at f two eight wow ok one thirtieth of a second that's the shutter speed and that means it's actually a little slow it's not a good idea handhold your camera if your exposure setting goes below one thirtieth of a second. Okay, well, now look what's happening right now behind me I've got this sun coming in through the window and it's lighting me up who how's my hair look but what's happening too is this is now changing the exposure setting that I'm going to need to use so ok, I just took a test shot and that's not even going to work because I took it in a different lighting scenario so I'm going to do some things and kind of mix and stuff first I'm gonna move the light back a little bit and now what's happening is I have looking at eric space I have almost the same amount of light coming from this direction on his face as I do from this light over here so just sometimes you have to do things on the fly this happens a lot if you're shooting outside, you know the sun goes behind the clouds and then you're lighting scenario changes okay, now I was thinking I love that you're working with us we can close the shades if you need us too if you prefer that ok, I that's what I thought what I wanted to offer for you thank you, no problem it's kind of I mean, I like this because this is what happens in real life, you know, things happen it not everything is always controlled and especially if you're working with any kind of daylight and mixing that with any kind of studio life absolutely we're kind of I don't know to me this is fun, so okay right now if I'm looking at eric space he is lit now are one life it's on I was just the window light and I've got nice light on this side of his face and shadow now in this side because I turned off this light so I'm going to take a shot and just see how it looks and I think it looks a little darker overall so my exposure setting they turn out kind of darkness because nice but we'll see we'll see how it looks okay actually looking pretty good I'm kind of like in the window light right now so for right now I'm just going to go with the window light and my exposure setting is p for program and it looks good to me now I'm looking at a computer monitor right now because I'm tethered from the camera into the computer monitor but if you were looking at this you'd be looking at the back of your lcd screen and checking to see how it looks ok and now as I'm talking this one goes away this is gonna happen to you so it's a good thing to watch this all right? I'm going to turn on this light and take another shots and eric come up this time just looked right at me like a really direct that's nice, nice and eric has has great bone structure you know you'll see this in people that are sitting in front of your lens a cz faras got cheekbones and a nice jaw line, and the light is coming from up above him. So it's kind of showing off his jaw line. This looks a little bit over exposed to me and again, it's at one three of a second. So I'm going to do some fixing on this, I'm actually going tio raise the light a little bit and I may move it in just a tad, and what I'm doing now is making it look just a little bit more dramatic, and I'm going to change my exposure settings. All right? So I was shooting and p for program, and that means the camera is picking the exposure settings for me. So just looking at what I had before, I know, okay was one thirtieth of a second that's the shutter speed at f two eight that's the aperture. So now I'm going to switch my camera to em for manual and I can now manually adjust thing, so I want to choose a little faster shutter speed, so I'm not going to go upto one sixtieth of a second and my aperture, I'll leave it up to eight, and the reason I'm doing this is I'm choosing a faster shutter speed, which means it's going to give me a little less light. And also it's going to be better to be handheld so now looking at his face on this computer monitor and if you were looking at it on your lcd screen, you see his face looks a little kind of a little overexposed in one area, I'm going to take another shot, and again, this is the set up this is the getting the lighting right and kind of playing around with your model a lot of models and people that are just having her picture taken are usually not this patient, but eric knows that this is what he's here to do, so he's he's working with me, but normally if you're taking pictures of someone, you want to do this a little bit faster um just so they're not going to sit there and get bored and wonder what's going on and start starting to wilt like lily on the vine, you want to kind of keep things moving, so if you have to do some exposure settings, try to do them fairly quickly, okay, so we're going to do a couple more shots this time. Eric, turn your body a live it more towards the light like turn your legs all the way that way your whole body there you go and a lot of times you can help pose people, and eric and I talked about this before coming on on on air and hay said, you know how you can just just tell me what to do I'm moldable clay and and that's great, but sometimes people often have their own natural way that they like to sit or stand and just let him kind of do that and tell him how it looks and then maybe give some suggestions to tweak what it is that they're doing in that way you're going to get the most natural looking pose and just speaking about posing I'm also going to cover a little bit about posing in with opposing app on the next segment things you can kind of look at in mobile aps to give you some ideas about you know ways you might stand and pose and we we're not going to do everything sitting in a chair either erik will be sitting on a different kind of chair standing up for some of these so we'll move it will switch things around okay so we'll give it let's give a shot now and I'm gonna come in come in close on you and just came down a little bit more and then I tze right to me ok, we'll try that one more time and maybe kind of look up towards the light when you see what that looks like a little bit more and actually look up towards it like writer towards this and I'm just kind of studying the shadows on your face and now chin down just a little bit more and then I was right to me hey, I'm coming in kind of tight on these but sometimes that's what you want for a portrait and right now I'm that turned out kind of nice I'm thinking that the light where I've got a position I'm not getting enough catch light in his eye you see that it's just like a little bit of light but not really enough so I'm going to move the light around this way and cover more of his face and I can also do something with this called feathering when you feather the light means that you don't always have to have it boom directly cast upon your subject you can kind of move it around this way too so I just loosened up one of these knobs right here and now I can kind of move this around so if you could just if you can see the light on his face right now it's just just changing as I move the light I think I'm going to feather it over a little bit that way and I know this might feel kind of weird to you eric but it's going to look good in the photograph um on just kind of lean your left being out on your left me a lot yeah, whatever I like that yeah yeah like I'm thinking about something ah ah very nice and I think my exposure setting looks pretty good and this is definitely more of a masculine kind of pose he he's a masculine masculine kind of guy so he's kind of already figured that out he's doing some things naturally but when you're posing men one thing you want to do is um how does a deuce it's very it's like simple stuff you know, for women it might we're all sometimes kind of a little contorted but not always but with men it's sze simpler and it's sometimes stronger so we'll just be doing some things where he's like he's got his hands class just like this maybe is lean and out on his knee will try some different things but I'm also thinking now that the window light behind me is now dimmed a little bit I've got some light coming from this which is nice but I think I'm gonna I'm gonna pull it out a little bit like so and now I'm one of doing is broadening my light source so I've pulled it farther away and now it looks broader and softer on his face before I had a little bit closer and you could see more shadows now I want to see kind of more even tone on his face just a subtle gradation of shadow coming from this other side that's darker so right now I'm just working with this one light this would be considered the main light right now it's the only light but in a minute I'll bring in another light and show you how we can add into those shadows so I pulled it back a little bit broaden the light source and I'm going to take another shot and I'm going to come back a little bit you know get try actually try sitting up all the way and just lean out on your right on your right knee towards me there you go yeah and another thing I want to tell you so that's nice and eric about good when your face is a little bit that way and shin down just a tad and I'm gonna come down this way and I write to me so what I'm doing is is as I'm looking through the optical viewfinder is just kind of checking his face looking to see where the shadows are falling how things were looking I feel like I'm still not getting enough catch light in his eye so what I want to do now is use a second light and I'm gonna pull that in right now right over here it's already plugged into the wall so that's handy so I'm bringing a second light in and turn it on see how things look and I think I'm a lower this light a little bit so what I'm doing with this is I'm filling in some other shadows that I'm seeing because right now I think what I'd like to try just something that's fairly evenly lit but still has some shadowing it but not too much shadow and this kind of leads into the next thing I wanted to mention to you is if you are taking pictures of someone or about to you know, we talked about the war drove we talked about talking to them and and figuring out, you know, what, they're interested in what they're doing, where they went last night, I don't know did you go to a halloween party last night? No, not last night, still picking up my costume a a lot of people did, though, so, you know, having that report with them, but you also want to ask them, what do you need this picture for? Our are there things that you would like to do with these pictures that I could help you with? Maybe someone needs it for a real estate ad, maybe someone needs it for the brochure for their company, maybe they're a teacher and they need a nice picture for the school um, pamphlet you never know, you know what it is and what is the what's the look of that photo most of the time, if you're doing any kind of say, casual business shot and I'm say casual business as opposed to like if someone worked for a bank, they probably want a photograph that's in a suit with his high but if they're in another kind of business, say something like they have their own company me providing landscaping or something whatever it is or if they're teaching photography online maybe they want a friendly shot a shot that when someone looks at it they think wow that's a that's a friendly guy he's very engaging he's looking towards me and I think I want to call him up and talk to him about my landscaping or whatever it is so you want to help someone create that and give them that in the photograph and right now the way I've lived this it's you can see all of this face nothing's really too much in the shadow there some shadow there but it's subtle and then so you don't feel like he's hiding anything any nor was asking if you could talk a little bit more about specifically which shadows you're trying to avoid your saying that their shadows there but where are the shadows that you don't like? Good question right now in this picture just the way the shadows air falling he's got a shadow under his nose that's and shadows under the nose or not a bad thing, but sometimes you want to look at the direction that they're falling and if they look kind of hard or soft and in this particular photograph the way the shadows falling under his nose it's kind of off to the side it's on his lip it's like it's not it's not that attractive you know just you can look at it go if I see a shadow I'd like to see more in the side of the nose or right under the nose I like the shadow under his chin but I think I could either fill that in more with more shadow or just make the shadow not is hard and I would do that just by adjusting the light and right now I'm working with a little fill light because I felt like I just wasn't seeing enough catch light in his eye so I think that having the second light is really going to give me that catch light that I'm looking for that makes the photograph looked more lively and vivacious I'm going to show you really moody lighting set up a little bit later in this segment, but for right now I'm john just kind of working with eric and we're going to assume that he needs this friendly sort of business shot because that's oftentimes a lot of portrait ce before we might also maybe he needs something you know he just wants like a cool shot of himself so for use doing modeling and acting maybe he's booked for different roles and he wants something that gives him uh, you know, maybe an edge here, look, so you just want to find out what someone needs and give it to him. So right now we're gonna we're going to take it as if it's a friendly business portrait, so on that one, have they just set up a little bit more and you want to make sure, too, that you pay attention to wrinkles in this shirt that's something that when people are kind of, you know, they're moving around that thing's certain shirts wrinkle more than others, this this one works pretty well, but if you see, like, a lot of wrinkles bunched up by their neck, then that's going to be very distracting when people look at the photograph so, you know, just kind of look for those details and if if you don't want to run in and pull it or if you don't have someone assisting you and helping, you just asked him, hey, you know, could you pull your shirt down in the back and just kind of keep going? So hey, could you pull your shirt down in the back? Excellent, ok, go and that's a great and kind of leaning forward towards me just a little bit like, and maybe a little bit more of a smile on this, like, so happy for you to be here lovely and put your chin down just a tad just a little bit that's nice and now turn your face just a little bit this way and just a little bit more more three quarter to me and shit down just a little bit just a tad and then I was right to me nice now like kind of leaning forward a little smiley almost like you're looking across the table at me like hey, how you doing? Try that and let's see how that looks and sometimes you know when people are in front of the lens things get a little they're thinking ok do I need to keep smiling should I not smile? What should I dio ok, that looks nice so you want when you're working with them to kind of see if you can capture some moments it's not so much ok one, two, three click if you're clicking and you're just kind of talking to them and telling them what looks good and maybe some other things you'd like to try or you know did you have trouble parking today tonight lean towards me eleven almost like like you're laughing that's great nice and just take a lot of shots because sometimes people blink and that's just what happens I actually had a client once that that every time that looks great so every time the shutter went off even blink it was just that's the way he blames you know here's something any blink and you just have to kind of be a little cautious of that. All right? So we've got these going on this looks really nice and all right, so now we're going let's try move it shaking things up a little bit I like the way that I've gotten space fairly evenly lits it's like it's a nice portrait shot something that actually no what could we fly in that other chair want to try something else? Because sometimes when you're sitting and like a chair like this there it's kind of limiting as faras some of the poses you khun dio and you've also got that chair back that they're so let's do this eric, if we could change out that chair for the stool yeah, that be great, thank you. So sometimes working with a model that sitting on a stool gives you more flexibility as faras things they can do in front of the lens and it's easier for them to kind of turn around especially if it's a swivel stool and now he's sitting up a little bit higher so I may want to look at the light and make sure that, you know, I've adjusted it the way I want and I think what I'm going to do is turn off this light and just start was moving one light in like so and so we'll try this, we'll try this chair and have him kind of move around in that, and then maybe we'll try somewhere he's standing up and see how that looks ok, I feel like this I like this so you feel how do you feel on that shares anymore? We're more comfortable, more flexibility of movement? Yeah, some more flexibility movement you can kind of doing so actually let's do this. I just kinda want tto take a look at your face in this light, spin around this way a little bit and then chin down and spend it you're looking back at me like hello and maybe head up a little straighter or you go announce him down let's see what this looks like? Okay, so what I wanted to point out when you're taking pictures of men imposing them oftentimes it's a good idea to try to keep their head kind of straight like this and not so much tilted like that. So right now we're just kind of working out our our direction, but it's better to keep heads straight up and down this way as opposed to tilting it that way, it just has a stronger look so that's a little tip on the posing in the more masculine vein as opposed to posing women because oftentimes women will have heads back and throwing your hair back and things like that some guys and they want to do that but I'm just kind of giving you the traditional male posing all right that's nice just kind of straight on and that's like it's a nice serious looking shot and maybe that's that's great okay and turn your face a little bit more towards the light and this is a nice simple shot now turn your body even more that way and what you're going to dio even more and you're going to take this shoulder kind of lean it down towards me yeah so this is like you're coming at me baby there you go yeah looks good yes and you can say funny things like you know give me that pouty look whatever give me your best zoo lander I don't know whatever whatever works but sometimes it's fun to just kind of to say not all its persons are going to be the perfect expression that's ok but that's why you know it's great to shoot with digital you can take lots of shots and work with them later and what I dio is I will take some posed shots but in between you know we'll be laughing and making some jokes whatever and I'll just kind of keep shooting and sometimes you know there might be a weird expression that's just what happens sometimes but other times you might get like a really great laugh or super authentic moment and that's what you want to go for is authenticity and photographs it's so owen irving when people are in front of the camera, most people don't like to be photographed and it's for a lot of reasons one they're not quite sure what to dio too they're afraid of where the picture is going to end up three they're afraid that they may not look it in the shot so you know, there are a lot of things that people worry about when they're in front of the camera. So it's it's oftentimes a good idea for you to practice being in front of the camera so you can gain a little empathy for the people that are sitting there standing there and you can in your own mind think, well, what would I want to hear? You know what would make me feel better sitting in front of the lens it's just good to kind of to do that play around with shooting with other people and take turns being in front of the lens and being behind the lens so I'm really liking the light right now I just have this one light we have some nice window light coming in from the side so what's happening is this is really my main key light it's the brightest light the window light now is ac it is a phil white I've got some nice catch light in his eyes, I think, because the lights kind of it a nice height to him it's giving me some shadow beneath his jaw line, which looks good on most people and also we've got some more interests going on in his body you know what you want to kind of stay away from, you know, straight on into camera, maybe turn a little bit and then add at a little shape into it just by leaning in so let's, just try a couple more of those air going really? And they feel weird to you, but just kind of lean in towards me. Yeah, that's nice and turn your head a little bit more three quarter that's kind of nice check out that side to we haven't done that one. And now turn your your body all the way that way and now you're just kind of looking back at me, okay? And I just turned him completely around, but I've got some nice catch light in his eye and this is just a different a different angle, but it's a different look and it's kind of nice it's kind of like he walked into the room and he turned around went, oh, hi, how you doing so the portrait's can speak to you this way my settings are one sixteenth of a second at f to aid in the so is at four hundred and the reason I got the s o s four hundred which normally you'd want to shoot like if you're outside especially one hundred or two hundred s o the higher you raise your eyes so and especially on some cameras especially ones that may be art as expensive they have smaller sensors and the higher eyes so that you go you might have a lesser quality image meaning you might see some discolored pixels and they're also known as noise but with this camera this is this cannon seventy it's still a cropped sensor of smaller sensor but it's a great camera and I s o four hundred is still a sin take place to be and I'm doing that because it's the sensors sensitivity to the light and in essence is kind of letting me bring more light into the camera and use a shutter speed that's fast enough so I can hand hold it so I'm kind of like I'm playing playing around with settings which is what what you want to try and do and of course this is also going to depend on the lens that you're using yes I mean are you preferring the hand hold to try try pot for yeah that's a good question julian asked me if I prefer hand held the tripod and I personally do just because to me tripod is very limiting so if I use it a tripod that I'm kind of just always stuck in the same place and if there's any movement with the person in front of the lens that incorporates impossible blur also if I'm below say one sixtieth or one thirtieth of a second all used tripod if I'm shooting landscapes or say timed exposure settings at night where I want everything to be perfectly still that's what I'll do but for me normally I just kind of like toe to move around a little bit and that's what I should also mentioned did that answer question ok I also wanted to mention it's good for you is the photographer to move around too just because the lights here and you're here and they're here doesn't mean that you have to stay here you could move so I'm going to move over this way we have a nice broad backdrop right now so I don't have to worry too much about plants coming out of his ears or anything like that because I know if I move over here I'm still seeing a solid backdrop ok let's try a little bit more of this and I liked it when you had your body turned more that way and you had your head turned towards maybe just kind of leaned down just a little bit ok we'll see how this looks that's nice it's nice and just a little know um do one more eric has nice ears, but with men when they have short hair, if they're looking at you straight on, you'll see two errors coming out and depending on the years maybe they might be big ears and maybe you don't want to have big ears in the shot, so pay attention to that too often a great way to pose men would be just to turn their head a little bit, so they're more of a three quarter angle and that puts one ear behind, so you're not seeing it and it makes the other air kind of look like it's laying flat on his face, so I'll give you that I'll give you that example, so I'm just gonna look at me straight on right now, you've got nice ears, but, you know, now we've got a shot with two ears. All right? So now is I move over here and maybe turn your face a little bit more that way and now I see me and I'm gonna move over this way and that looks great. Okay, so now the next shot um, he's more three quarter and look at that so one ear looks flat against his head and the other air just went away, okay, so that takes away some distraction sometimes the thing you want someone to look at when they're looking at a portrait is the eyes so you want to make sure the eyes air in focus and you also want to make sure that there isn't really anything else that's going to distract from kind of getting the essence of that person unless the essence of that person is their big ears. But that's another story, so you may want tio really kind of study their face, you know, that's really, as a photographer, that's what you do when you're looking at someone when they're in front of the light and at first they they might be a little if they're not used to it a little freaked out, like, what are you looking at me like that for? But you're you're looking at their face because you're studying, how is the light falling, where the shadows do I need to move my light? You know, what's happening with their shirt, all these details things to really look at because once you take that shot, that is something that's going to be around a while. People look at it and three, I just I guess we can't help it r I automatically goes toe what's wrong in something, and you want them to pay more attention to what's, right about the photographs that just look for those little details.