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Hands on sides: what your photos tell about you
Hands on sides: what your photos tell about you
Anonim

How do you behave in front of the camera? Will you smile or frown? Are you going to get into a closed or relaxed position? It turns out that you can learn a lot about a person from photographs!

Hands on sides: what your photos tell about you
Hands on sides: what your photos tell about you

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Researchers at Columbia University have calculated that only 9% of people under the age of 30 are completely satisfied with how they look in photographs. Others consider their postures unnatural, their smiles strained, and the image as a whole is not true. Psychologists and photographers, on the contrary, unanimously assert: the way we get in the picture is much closer to reality than the image in our head.

In addition, in the opinion of Alexei Tryaskov, during photography, all our clamps appear, which are not so pronounced in everyday life. His opinion is shared by the candidate of psychological sciences, business coach Lyudmila Gorodnicheva: "Photography is a model, a copy of the behavior that we demonstrate in reality."

Love yourself

According to psychologists, everyone has their own photo story. We collect personal photos and, based on what we see, we draw conclusions from which angles we look better. This is how, ideally, a favorite pose should be formed, but in reality we clamp down, copy or even express deep messages hidden from us - by facial expressions, gestures, body movements. Alexey Tryaskov calls his favorite pose “a stereotype of his beauty” - something that a person “invented” for himself. After all, we do not take into account that the perspective in which the photographer sees us may differ significantly from the one perceived in the mirror image.

Lyudmila Gorodnicheva explains: the way we pose is largely determined by the appearance of our ideal I - that is, what we want to be, what we strive for. According to her, clamps in photographs demonstrate a deep inner conflict: a person rejects himself as he is now. The ideal self is formed through the media, fashion trends, television: we are dictated how we should look, what we should say. While waiting for the moment when a bird will fly out of the camera, many unconsciously copy the poses, gestures, and movements popular in the relevant social circles. In the event of a global inconsistency between the self-ideal self-real, there is a dislike for photographing: a person is afraid to look again not what he would like - hence the constraint, pretense. So, first of all, you need to cultivate confidence, learn to accept yourself with all your individual characteristics.

In addition to fashion and mass media, the desire to imitate inherent in us influences the formation of our favorite poses. We unconsciously imitate those we respect and admire. Imitation is one of the ways to achieve the desired goal: by thoroughly getting used to the role, you can really seem to be who you want to become. This was proved by their research by a group of psychologists - Dana and Amy Carney, Amy Cuddy and Andy Yap. They asked the subjects to take two poses each: open, demonstrating power and strength, and closed, showing that the person doubts himself. People who took the posture of confidence were more willing to take risks, moreover, the level of hormones in their blood even changed.

But in the case of photography, everything is not so simple: you need to have time to feel the pose, make it your own, and not try to depict it for the first time in stressful shooting conditions. Photographer Anna Makarevich believes: when we want to show ourselves in a certain way, an internal dialogue takes place. Where to put your hands? How to put your feet? What position to take? “The whole trick of photography is to make the dialogue external: between the camera and the subject, the photographer and the model,” says Anna. - Internal disputes of the model during the shooting are always bad. It covers all interaction."

Sometimes it seems that it is not enough to take a good pose in front of the lens, and then we start to move - to shift our arms, put our feet aside, jump … “Conscious movement in the frame is always an attempt to stand out: dynamic objects attract attention,” explains psychologist-consultant and systemic therapist Elizaveta Levin. If you don’t know where to put your hands in the process of photographing, this betrays excitement, as well as ignorance of your personality, inability to put yourself not only in the frame, but also in society.

Lyudmila Gorodnicheva confirms: “People who know and feel fully themselves, as a rule, do not have problems with photography: open poses and gestures, head held high”. Jumping demonstrates an attempt to go beyond: those who jump in the photograph are positive, open, creative. This is an attempt to express yourself through movement. It makes sense for those who like to be photographed in this way to take a closer look at their life - is there enough creativity in it?

Keep your face

The clamps in the photo are typical not only for the body, but also for the face. Alexey Tryaskov sees the reason in the so-called “emotional dissonance”: “The photographer wants to extract the emotion of fun, happiness, tenderness - pleasant, worthy of being captured, while the person depicts something else. But not because he is harmful or stupid, but simply because he cannot relax."

At the moment of photographing, a strange mixture of emotions that we want to show and the feelings that we are really experiencing at that moment often appears on the face. American psychologists Carol Barr and Robert Cleck argue: usually it is not possible to express even half of what, in our opinion, should be written on the face. But we demonstrate what we do not realize: behind a grin, for example, there is often an attempt to show oneself as a cute, harmless and sympathetic creature.

Lips in general are our weak point - they tell more than we want to tell about ourselves. According to Lyudmila Gorodnicheva, bow lips are an indicator of a weak personality, unable to resist imposed stereotypes. As soon as there was a fashion for a sensual mouth, many girls, regardless of whether it suits them, began to depict just such lips. “This is again a search for the ideal I,” the psychologist believes. “We are catching the wave, copying trends, but we don’t think how much it corresponds to us, how much it is ours”. Photos with pursed lips speak of inner stiffness.

The pursed lips, according to Elizaveta Levina, demonstrate a desire to hide their feelings under a mask of indifference. As a rule, they appear in photographs of those who like to control the process.

A raised chin shows the degree of self-confidence. But the omitted one indicates that the person is depressed, feels internal discomfort. If the chin is drooping all the time, the person may have a lot of problems.

Some people like to make faces, make faces in front of the camera. This behavior can be the result of different psychological mechanisms. The most obvious one is the same copying that manifests itself mainly at a young age. Comics, cartoons are filled with characters whose faces demonstrate the fashion for exaggerated ugliness. Making a face in a photograph is also the easiest way to attract attention, to show your difference from the crowd of people around you. However, sometimes a more subtle mechanism is triggered: it seems to a person that the grimace will look funny and amusing in any case, while his real calm face may not seem attractive enough.

“It is unlikely that the grimace is aware of this, but so he simply defends himself from disapproval, from rejection of himself,” explains Elizaveta Levina. Of course, it happens that the reason for grimacing is inner courage, good mood and a desire to briefly fall into childhood.

But most often people who are personally immature, infantile, make faces, notes Lyudmila Gorodnicheva.

Attention, panic

Sometimes the clamping mechanism is quite obvious: “A minute ago, the person was laughing, joking, and was adequate. But if you point the camera at him, your face changes dramatically,”says Anna Makarevich. At such moments, we convince ourselves: to be embarrassed is unconstructive and frivolous. And thus we fall into a trap set by ourselves: the clamp only gets stronger. The task of the photographer in this situation is to stop shooting, in any way to switch the person's attention to something pleasant.

Anna Makarevich, for example, invites her models to drink coffee, unobtrusively touches her hand, shows photographs on the camera display - affects the bodily and emotional sphere. Alexey Tryaskov, in a similar situation, also tries to shift attention, but activates logic: he asks the person to talk about their favorite films, family, and the specifics of their profession. Both photographers do essentially the same thing in different ways: relieve tension, creating an atmosphere of comfort and mutual trust.

By the way, it is advisable to take care of it in advance - especially in difficult cases. It is good if the photographer and the model can meet, discuss the concept and details of the future shooting. But what you should definitely not do is train in front of a mirror, memorizing poses and grimaces. The positions worked out are unlikely to coincide with how the photographer sees us, and the internal panic will only intensify. “It's like talking to a doctor,” Aleksey Tryaskov draws an analogy. - You do not come to the doctor with the words: "Doctor, I have a sore throat, write a prescription for such and such a drug." Let the professional decide for himself how to show you more profitably."

Anna Makarevich believes that an initially positive attitude is necessary: “During the shooting, one should not think about the fact that now it will turn out unsuccessfully again. Otherwise, all the invented flaws - a crooked nose, closed eyes, a fat belly - will really appear. " In a word, as long as a person thinks that the photo turns out badly, it will be so. By the way, professional photographers only partly confirm the widespread myth that a small dose of alcohol - for example, a glass of champagne - helps to relax. “This only works when it comes to household shooting, and the dose of alcohol should be really minimal,” warns Anna Makarevich.

Named daffodil

Self-esteem problems always prevent a person from correctly presenting himself in the picture. Photographers note: it can be difficult to work with people of a narcissistic nature who are in love with themselves - they rarely listen to other people's opinions. At the same time, between an overly strict perception of oneself and narcissism, there is a rather wide field, the existence in which makes life much more comfortable.

According to Anna Makarevich, a person who treats himself with love almost always looks great in photographs, regardless of the type of shooting (household or studio) and whether he is posing or not. Elizaveta Levina agrees with her: “If you don’t know your strengths, you don’t know how to position yourself, you definitely need to do something about it”. Unconscious copying of others, internal conflicts, self-criticism are indicators of global uncertainty, doubts about the correctness of the chosen path. Internal clamps not only get in the way of getting good photos, but also take away a lot of opportunities in real life.

“A chained person who does not work on this and does not change in any way limits himself,” warns Lyudmila Gorodnicheva. - He puts a taboo: I am not fit here - I didn’t look good, this partner is not for me - he looks better, his specialty will not work either, because a presentable appearance is needed there. I would be something simpler, worse."

Take a look at your photo story: perhaps you yourself are depriving yourself of the best, because you do not believe that you are truly worthy of it.

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