CyberDyneSystems wrote in post #17573772
In my case I did never had the option of posing, or second tries. But just like with wildlife or sports, one learns to anticipate, predict and time shots with the beat, or pause. Without exception, from modern, Ballet whatever, I never saw a dance that did not involve the "moment" where the dancer completes a move and holds it for the audience. typically these "moments" are also the most photogenic. A split second during an energetic move could result in a terrible unflattering "muscle builder" facial expression, but the "moments' are always sublime and the chance the dancer has to make it look to everyone watching like it is "effortless"
This is great advice. The skill of anticipating and predicting comes with experience, just like most other facets of the craft.
This session will be a good time to practice - after you've got your posed shots in the can, have one of the dancers run through a full routine, and see if you can anticipate and time your shots to get something good.
gonzogolf wrote in post #17573795
Even when they pause and look there is more muscle tension in the face than you might think. What seems like a come hither look in a club, can be interpreted diffeently when frozen and captured much closer than the seats in a club.
True, often. Not every one is going to be a keeper, even if you nail the timing perfectly for the body, there might be a funny or unflattering face going on. This varies really, really widely by performer - some will have a perfect face no matter where they are in the routine, and some will look gorgeous on stage but just silly and goofy in every still frame.
So, you shoot a lot, and throw out the ones that are unflattering to the performer.
Generally speaking: The better, more skilled, more experienced performers will be able to control their face as well as their body. But there are plenty of exceptions to this.
I... I think maybe both forms work in this thread?