As photographers we face challenges day in and day out, but one of the toughest facets of the job is posing our subject. Regardless of experience, when a model steps in front of the lens for the first time he or she will expect some direction. It’s up to the photographer to give that proper guidance, otherwise the images will just come up short. There is nothing more awkward than a clueless model and a quiet photographer. Your team is not only depending on model, but so are your peers and clients. It’s a lot of pressure, but a great image can be captured by following a few of these “ground rules.”
There is a right way, the photographer must take the wheel. But at the same time, it is also important for the model to understand what makes a perfect picture and what is THE pose.
Let’s get started on learning the “ ground rules “ of posing …
1. BEYOND HIPS
I've seen it time and time again, the first instinct for a new model is to place their hand on their hip and raise their chin sky high and give some sort of angry blank expression.
The hand on the hip reeks “sorority girl" and the high chin may elongate the neck but it does nothing to help the jawline.
Do not hesitate to take those hands off your hip and play around with your body, grooving to music can help make great poses.
2.PULL POSES AND MOOD
Do your research beforehand and plan accordingly. Pull inspirational poses (photos) and emulate those poses. I like keep an ongoing inspiration wall full “tearsheets” and ads I see in magazine such as Vogue, W, Glamour or V Magazine. I also use visual discovery tools like Google or Pinterest to save influential images, which are organized into folders or bulletin boards such as “Pose,” “Hair,” “Makeup” or “Light.”
3. FOLLOW THE NOSE
All amateur models instantly feel the need to keep their eyes to the camera, but with my style I prefer the opposite. A model glancing off camera plays to my structured aesthetic; I constantly preach “follow your nose with your eyes,” as it reduces the amount of white in the eye and eliminates the awkward over rotating eyeball. Also, I always want to see color, contrast and catch lights in the eyes, if the model simply follows their nose the color and catch lights will be there.
4.BOUNCE THE SHOULDERS
Shoulders are often overlooked, but they play a crucial role in framing the face of a model. Popping a shoulder up and forward can make all the difference, especially in beauty work. Just raising one shoulder higher than another will add dimension and strength to the image. Shoulders and collarbones play a crucial role in beauty and portrait work.
5. CHIN OUT AND DOWN
A camera can only see in two dimensions, meaning a photograph is not three dimensional unless it’s shot three dimensional. Therefore, when a model pushes her chin forward and then down and is faced directly towards the camera, from the photographer’s perspective the jawline is extended and stronger lines have been formed. However, if the model were to move to their side profile, he or she would resemble a turtle poking its head out of the shell. It will feel incredibly awkward for the model, so it is important for the model be aware of their torso and stance before bringing her chin out and down.
6. OPEN THE MOUTH
It can set a completely different mood and photograph. With the mouth closed, the jawline clenches and adds extra weight to the sides of their face. It can also give negative energy to an image, a bored neutral look. With the mouth slightly open, the jawline is elongated and gives a subtle intimate invite to the viewer.
7. CREATING SEPARATION BETWEEN YOUR LIMBS FROM YOUR BODY
Not only does it prevent the arm/leg from being squashed against you spreading out any fat, it is also an optical illusion for a slimmer appearance in terms of overall width. A basic cheat that makes a massive difference.
8. BALLET HANDS
I grabbed this term from one of my favorite photographers and educators Sue Bryce. She has a way with posing women that is unmatched; her images are ethereal and real. Hands are one of the more challenging aspects of posing and can make or break an image if shown incorrectly. The model should relax their hands as if they were in a ballet, spreading the fingers lightly, slightly broken at the joints. From there, depending on the aesthetic of the shoot, hands should be placed in a position that works with the image. Under the chin, over the shoulder, to the side or through the hair are some common positions for hands.
9. HAVING A BASIC UNDERSTANDING OF LIGHT
For example, if you raise an arm to the light, it could be a whole F-stop brighter in camera than your face (being the object closest to the source of light according to the inverse square law). It will also cast a shadow across you. You can counteract this by using your other arm (!)…or, move your arm a fraction backwards, away from the direct beam of light. Learning how lighting falls is invaluable. Ask which is your key light and then work towards it.
10. ALL ABOUT SUBTLETIES
“A very subtle difference can make the picture or not.” - Annie Leibovitz
It’s true; it’s all in the subtle details. It’s important that the model move slow and sly, as big movements and gestures can have a negative impact. When you lock-in a strong pose, the last thing you want is the model to make a drastic change to her body or face. So it’s important for the model to be conditioned to make small steps and only slight differences in gestures.
Be confident in how you pose and if it just doesn't work move on to something else. Keep experimenting and keep talking. There has to be a connection established between the model and the photographer and communication has to happen throughout the shoot, because unless you’re working with Coco Rocha, if you stop talking, you’ll never get that perfect pose.