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| Foreword | |
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| Introduction | |
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| How to Read This Book | |
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| The Location, Posing, and Execution Charts | |
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| Locations | |
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| Geometry | |
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| Geometry for Framing | |
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| Geometry in the Environment | |
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| Geometry for Balance | |
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| Putting It All Together | |
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| Balance | |
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| Balancing with People | |
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| Balancing with Objects | |
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| Five Key Questions for Choosing a Balance Point | |
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| Balancing with Space | |
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| Parallel Lines | |
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| Working with Horizontal Lines | |
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| Working with Vertical Lines | |
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| Symmetry | |
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| Combining Vertical Symmetry with People | |
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| Combining Horizontal Symmetry with People | |
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| Seeing Symmetry Everywhere | |
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| Color Elements | |
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| Keep Contrasting Colors to a Minimum | |
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| Find an Area Where the Colors Are Part of the Same Family | |
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| The Three-Color Limit | |
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| Depth | |
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| Depth and the Environment | |
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| Depth with Context | |
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| Depth for Mood | |
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| Depth with Movement | |
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| Shadows | |
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| The Bright Side of Shadows | |
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| Using Dark Rooms Outside to Create Striking Portraits with Shadows | |
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| 1: Shooting from the Shadow Side | |
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| 2: Shooting in the Middle Between the Bright and Shadow Sides | |
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| 3: Shooting from the Bright Side | |
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| Navigate by the Shadows on the Ground | |
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| Casting Shadows from Objects to Create Graphical Interest on a Portrait | |
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| Using an Off-Camera Flash or Video Light to Force Shadows to | |
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| Appear Where Desired | |
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| Silhouettes | |
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| Vital Components of Silhouettes | |
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| A Very Bright Background to Create Contrast | |
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| Subjects or Objects Should Have Little or No Light Falling on Them | |
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| No On-Camera Flash | |
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| Clear and Recognizable Shapes | |
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| Correct Exposure | |
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| Creating the Opportunity for Silhouettes | |
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| Partial Silhouettes | |
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| Posing Silhouettes | |
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| Creating Contrasting Silhouettes | |
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| Reflections | |
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| Reflections Using a Single Mirror | |
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| Two Sides of the Same Person | |
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| Capturing Expressions and Relationships through a Mirror | |
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| Telling Multiple Stories through a Single Mirror | |
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| Creating Balance with a Single Mirror | |
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| Reflections Using Two Mirrors | |
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| Using Beveled Mirrors | |
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| Reflections from Water | |
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| Finding Reflections in Unlikely Places | |
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| Patterns and Repetitions | |
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| Incorporating Patterns into Photography | |
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| Breaking a Pattern to Isolate a Subject | |
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| Combining Patterns with Geometry | |
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| Using a Flash to Bring Out the Pattern | |
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| Combining Patterns with Geometry and Symmetry | |
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| Working with Repetitions | |
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| Positioning Subjects Within or Near the Repetition | |
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| Positioning Subjects to Become Part of the Repetition | |
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| Framing | |
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| Creating Action Inside a Frame | |
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| Creating Frames | |
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| Natural Frames | |
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| Double Frames | |
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| ABSTRACT FRAMES | |
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| Framing with People | |
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| Framing with Meaning | |
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| Paintings and Artwork | |
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| Choosing the Right Artwork | |
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| Removing Context | |
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| Composition with Paintings and Artwork | |
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| Technical and Lighting Tips | |
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| Contrasts | |
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| Old and New | |
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| Big and Small | |
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| Bright and Dark | |
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| Contrasting Expressions | |
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| Age Contrast | |
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| Contrasting Colors | |
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| Breaking the Status Quo | |
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| Lens Flare | |
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| The Benefits of Lens Flare | |
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| Everything in Moderation | |
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| Moving Halos Away from the Body | |
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| Block and Crop | |
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| Setting Priorities | |
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| Advanced Lens Flare Techniques | |
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| Walls, Translucent Surfaces, and Textures | |
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| Walls and Shade | |
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| Proximity to the Sun | |
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| Reflecting a Patch of Sunlight | |
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| Reflecting Window Light in Front of Walls | |
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| Using an External Flash on Walls | |
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| Using Walls as Reflectors | |
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| Think Like a Photographer | |
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| Using Natural Walls | |
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| Superimposing Designs on Walls | |
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| Wall Textures | |
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| Making Texture Work for You | |
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| Using Contrasting Textures | |
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| Translucent Materials | |
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| Poses | |
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| Five Key Posing Techniques | |
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| My Posing System | |
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| Technique 1: Systematically Sculpting the Body | |
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| Distributing Weight for Natural Posing | |
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| Symmetrical Posing | |
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| Technique 2: Posing the Hands | |
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| Posing Hands in Large Groups | |
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| Technique 3: Posing the Face | |
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| The "X" Factor | |
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| Technique 4: Injecting Expression and Balancing Energies | |
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| Clich�s Don't Work! | |
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| EyesMustBe Posed | |
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| Technique 5: Give Specific Directions | |
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| Posing Chart | |
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| Getting the Most Out of This Chapter | |
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| Traditional | |
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| Him Behind Her | |
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| Her Behind Him | |
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| Walking | |
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| Kissing | |
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| Playful, Action, Movement | |
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| Holding Hands | |
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| Sitting | |
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| Together Side by Side | |
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| Interpretive | |
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| Distance Apart | |
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| Hugging | |
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| Foreground/Background | |
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| Facing Each Other | |
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| Kiss Anticipation | |
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| Featuring Him | |
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| Featuring Her | |
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| T-Pose | |
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| Execution | |
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| Execution | |
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| Lighting through Direction | |
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| Simplicity through Subtractio | |
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| Beauty through Angles | |
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| The Tourist Test | |
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| Bird's Perspective | |
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| Dog's Perspective | |
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| Perspective through Lenses | |
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| Deliberate Practice | |
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| Deliberate Practice | |
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| Perform | |
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| Discover | |
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| Technical Problems | |
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| Location Problems | |
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| Lighting Problems | |
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| Pose/Expression Problems | |
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| Approach Problems | |
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| Artistic/Creative Problems | |
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| Breaking It Down | |
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| Analyze | |
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| Step-by-Step Practice Session | |
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| Situation | |
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| Breakdown Exercise Log | |
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| Integrating the Location Chart and Previous Practice Sessions | |
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| Practice Session Photos and Analysis of Results | |
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| Real-Life Application of New Skill Set | |
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| Final Practice Examples | |
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| Weeds or Plants | |
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| Narrow Hallways | |
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| Foreground/Background and Silhouettes | |
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| Ruffled Dress | |
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| Final Words | |
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| Index | |