Gen Con Costumed Posing Workshop Two, Expression

August 21, 2023
2 mins read

Last week, we introduced the first of the three Distant Era costumed photography posing workshops at Gen Con. The previous week, I talked a little about the very busy week in Indianapolis running the Distant Era workshops at Gen Con. This week, we’ll share portraits from the second of the Gen Con workshops and discuss expression, an important intangible component of the workshop.

Beyond the Physical

For many of us, it’s difficult to know what to do in front of the camera. We don’t know how to stand or what to do with our hands. But there are ways to learn these things and to make interesting line, shapes, curves, and angles with our bodies and wardrobe. We cover this at the beginning of the workshop. However, that’s only part of the picture. Once we understand how to be in the space physically, what next? Some of us compulsively smile in front of the camera, as we were probably instructed to do as children. How do we interact with the camera, or do we avoid interacting with it completely?

Expression

Expression is that look, that engagement with a subject—on or off camera—and it’s something that must be felt or imagined rather than presented, shown, or demonstrated. Exactly what is felt or imagined isn’t as important as that there’s something going on. Yet, true emotion naturally gives way to true expression. So how do we get there?

The expression part of the workshop teaches a few key aspects of acting. The first of those is the art of leaving oneself alone, which is to resist the impulse to entertain, perform, or impress. The other is action, or rather, imagining that this is a moment in a story rather than a posed photograph, playing through that action in the imagination, and allowing the resultant feelings to subtly shape the body.

Oftentimes in portrait and headshot sessions, photographers get their subjects to leave themselves alone by engaging in conversation. When the subject becomes comfortable in the space and stops thinking about sitting for the camera, they become themselves again and produce natural expressions.

In the workshop, we’re guiding the subjects to find that natural expression themselves. The way we make that happen is through incorporating action into the poses (dramatic action, not necessarily movement). Where is this character for the pose we’re making? What are they thinking? What has just happened, and what are they about to do next? When we focus on doing something, our minds and bodies and (with practice) our emotions engage, and our body language and expressions convey what we feel.

In the Workshop

As we practiced building our poses and creating action in the workshop, it was amazing to see the participants transform as they finessed their poses, both with natural expressions and active, intentional character action. We narrated the subjects through given circumstances for their characters and captured their expressions as they moved through the poses we’d practiced. I’m very proud of the way they embraced these lessons from the workshop and incorporated them into their poses.

The Cosplays

For workshop two, we had five awesome costumes, including Kaylee from Firefly, the android 2B from Nier Automata, the warrior/mercenary named Byleth from the video game Fire Emblem: Three Houses, and Qi Qi from Genshin Impact. Our captain was a character of the subject’s invention. He embroidered all those beautiful designs himself!

The MVP

Once again, Elizabeth helped enormously with the workshop, helping with administration, setting up and taking down equipment, and coaching the participants. She wore her own Mara Jade costume for the light tests, and here it is!

Alternate Expressions

We photograph exponentially more pictures than we display here, but I wanted to show off alternate workshop images featuring various expressions. These ranged from joy to wonder to anger to doubt and beyond. The workshop subjects did so well!

Next week, we’ll return with the third and final workshop from Gen Con 2023. Since we had nearly twice the participants in workshop three, we may divide this into two, depending on how much I can get done in a week. See you next time!

Workshop two class photo!

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Steven Townshend is a fine art/portrait photographer and writer with a background in theatre, written narrative, and award-winning game design. As a young artist, Steven toured the US and Canada performing in Shakespeare companies while journaling their moments on paper and film. In his transition from stage to page, Steven continued to work as a theatre photographer, capturing dramatic scenes while incorporating elements of costume, makeup, and theatrical lighting in his work. Drawn to stories set in other times and places, Steven creates works through which fellow dreamers and time travelers might examine their own humanity or find familiar comfort in the reflections of the people and places of a distant era.

The All Worlds Traveller

Welcome to The All Worlds Traveller, an eclectic collection of thoughts, pictures, and stories from a Distant Era. Illustrated with Distant Era art and photographs, these pages explore the stories and worlds of people beyond the here and now, and the people and creative processes behind such stories. This is a blog about photography and narrative; history and myth; fantasy, science-fiction, and the weird; creation and experience. This is a blog about stories.

Steven Townshend

I’m Steven Townshend—your guide, scribe, editor, and humble narrator. The All Worlds Traveller is my personal publication, an exploratory conversation about stories and how we interact with them, from photographs to narratives to games—a kind of variety show in print. It is a conversation with other artists who explore the past, the future, and the fantastical in their work. Not one world—but all worlds. Where Distant Era shows stories in images, The All Worlds Traveller is all about the words.

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About a Distant Era

Distant Era creates fine art and portrait photographs of people and places from imagined pasts, possible futures, and magical realities. In collaboration with other artists, we evoke these distant eras with theatrical costume and makeup, evocative scenery, and deliberate lighting, and we enhance them with contemporary tools to cast these captured moments in the light of long ago or far away. We long to walk the lion-decorated streets of Babylon, to visit alien worlds aboard an interstellar vessel, and to observe the native dances of elves. Our images are windows to speculative realities and postcards from the past. They are consolation for fellow time travelers who long to look beyond the familiar scenery of the present and gaze upon the people and places of a distant era.

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