10

TOP
tips
for
PURPOSEFUL
posing
01
TILT towards

part
the

When you instruct your subject to tilt her

head to add personality to a pose, always
ask her to tilt her head towards the part in
her hair. This allows her hair to fall open
at the part, revealing more of her face
and opening it up to the camera.
02
KEEP the

skinny
wrists

When photographing your subject’s hand in her hair or

framing her face, ask her to turn her outer wrists toward
you. This creates nice clean lines and can make her arms
and wrists appear thin. If she turns her palms in, toward
her face, you will end up photographing the back of her
hands, which can add weight to her arms and hands.
03
HAIR
over

pits
the

If your subject’s pose has her hands and arms

bent over her head, ask her to split her hair in the
back and bring it forward, over her shoulders. The
under arm area can sometimes be unappealing
to the eye, and her long, luxurious hair is a great
disguise to cover it all up.
04
KEEP the

together
knees

Unless you’re going for a more editorial pose, most of

the time you are going to want to keep your subject’s
knees together for sitting poses. Whether she’s in shorts,
a dress, a skirt, or pants, pressing her knees together
will maintain her modesty and keep the images age
appropriate and family friendly.
05
CREATE space

waist
at the

If a pose allows for it, remember to keep at least one of

her arms/elbows away from her waist. This makes sure
that her waist does not look wider by adding mass to it
with arms by her side. *This is especially important in
sweaters, jackets, or long sleeved tops when the sleeves
are the same color as the body.
06
OPEN
body
the
upper

When posing arms and hands,

remember to keep her back hand high
and her front hand low. The same goes
for her arms. This keeps her upper body
open to the camera and doesn’t allow
the arm or hand closest to the camera
to be a distraction between the camera
and her face. You want the viewer of
the image to first see your subject’s face,
then the upper body, then the limbs.
07
CHANGE
face
up
the

The best way to transition through

“flow posing” is to remember to keep
her expressions changing. As you
move closer to your subject ask her
to giggle, breathe through her mouth,
smize, laugh out loud, smirk, etc. Even
if you bleed a pose by changing the
distance to your subject throughout
it, a different expression across the
captures can create completely
different images.
08
B REAK up

connection
the

If you feel that your images are looking the

same, it may be because your subjects are
connecting with the camera in all of them.
Try asking your subjects to look towards the
brightest part of the sky, glance past your
camera, look down, follow the eye-line
of the wall, etc. This can instill mood into
your images and help your audience feel a
deeper connection to your client.
09 KEEP the

loose
wrists

Whenever you are posing a subject that

requires her hand to gently hang toward the
ground, remind her to loosen up her wrists
and fingers. If your client clenches her hand
into a fist with a straight wrist, it can come off
that she is nervous or even closed off to the
camera. If she needs to shake it out to keep it
loose and natural, direct her to do so. Loose
wrists give the impression of easy confidence,
and there’s nothing more beautiful than that.
10
BLEED out

pose
your

Before we go over the details of

“flow posing,” I want to remind you
that you should always be thinking
of how YOU can extend the life of a
single pose. How many images can
you get out of one pose by shooting
different distances, different angles
and different expressions. You’d be
surprised at how many sell-able
images you can get out of one base
pose.
f low
POSING
 The following 10 examples of flow posing sets are to show general flow throughout minor
changes in posing foundations. Through each series, you’ll notice that a few things were
changed, like the previous 5 tips given, but the model was generally in the same exact spot
FLOW POSING is a method of photographing your subject in a way that allows every time and foundational pose in every shot.
you to capture multiple usable/sell-able images from one base pose. This can be
a bit of an art form, but with plenty of practice, you’re sure to get it down and *Remember: the below examples show general explanations just so you get the idea of
benefit from it exponentially. Once you’ve completed one flow set, you re-pose what flow posing is all about. As you move into the posing instructions, later in this guide,
her and start the process over again. you’ll receive extremely detailed step by step instructions on how to achieve each pose.

Here’s a few quick tips for flow posing:

1.
START W I DE
Begin your base pose with long arms and legs. This means that
most base poses are of the full subject with wide shots. I usually
begin a pose with my subject’s full body in frame and take that as
the first shot. Then, I move in for a 3/4 shot, then a head-shot. I’m
the one moving while my client stays put.

2.
H AN DS UP
With that said, I always begin to bring my subject’s hands up as I
get closer. I’m not a fan of cropping arms for images, so I’ll always
ask her to bring her hands up closer and closer to her face the
more I move in towards her. EXAMPLE #1:

Notice how in the first image, it’s shot wide so that you can see her full body from head

3.
E XP RE SS YOU R SELF to toe. As I moved in closer to my subject, I brought one of her hands up to her face
As you move in closer to your subject, remember to change her and completed the set by changing the head-shot to a rule of thirds composition with a
expression. This will add even more variety to your flow posing horizontal orientation and changed her expression.
set. You never want them to look like “cropped images” (the same
image as before, just cropped closer).

4.
DI FFE RE N T CO MPOSITIO NS
Another great way to add variety to your posing set is to change
up your portrait and landscape orientations. Try your beginning
wide shot as a vertical image with your subject centered, and
when you move in, try a horizontal image composed at a rule of
thirds.

5.
DI FFE RE N T A NGLES
Try your first shot as an editorial angle, looking up at your client.
Then shoot the next at eye level, then the last from top down. EXAMPLE #2:
Changing the angles can give a totally different look image to
image, and is just another way to add variety to your gallery. Notice how in the first image, it’s shot wide so that you can see her full body from head
to toe. As I moved in closer to my subject, I brought one of her hands up to her face and
changed her expression. Then I completed the set by changing the head-shot to a rule of
thirds composition and asked her to look down and giggle.
EXAMPLE #3: EXAMPLE #5:

The first image is a full body shot in an action pose. The second is still an action pose; For the first image, I had her face me while grasping the back of her hat with a smile. I then
however, I moved in for a 3/4 capture. The third image in the set was closer, so I asked her moved in a bit and had her turn away slightly and brought her arms up with a different
to bring her arms up and change her expression. The final image, I moved back just a bit expression. Finally, I moved in closer and brought her arms all the way to a wrap.
and completed the set with a fourth pose. She’s standing in the exact same spot in all of
the images, and the only thing that changed was her upper body and expressions. All four
are completely different sell-able images.

EXAMPLE #4: EXAMPLE #6:

The first shot is an action pose at 3/4 crop. The second image, I moved in a bit and asked In the first image, she was leaning on a curb with legs out in front of her with her arms
her to look down at the flower, and the final image of the set is an arm wrap. All are down. As I moved in closer, I had her raise her back knee so that her back elbow could rest
different images, but the only thing that changed was her upper body. This set was taken on it for a different look to the shot, then I just turned my camera to capture a horizontal
in about one to two minutes, total. orientation and changed her expression for a totally different shot.
EXAMPLE #7: EXAMPLE #9:

The first in this set is the “Sittin’ Pretty” pose with a full body, centered horizontal shot. I then For the first image in this set, I captured her full body in a verical shot. Then I moved in
moved in for a 3/4 image and completed the set by moving in closer, bringing her arms in closer, switched up her upper body just a bit and completed the series with a rule of thirds
and changing her expression for a vertical rule of thirds capture. horizontal with a different expression and hand position.

EXAMPLE #8: EXAMPLE #10:

For the first image in this set, I captured a full body image with a horizontal crop. Then The first image showcases a horizontal full body capture. I moved in for the second with
I moved in a bit closer and switched it to vertical and brought an arm up. For the third vertical orientation and a change in the upper body. The final image in this series is a
image, I moved in even closer with a different upper body orientation, and for the final horizontal capture with arms pulled up and a different expression. All are completely
image, I moved in for a chest up horizontal with the front arm all the way up. different sell-able images.
standing
POSES
 H A P P I LY C ROSS E D
I N STRU CTI O N

While your subject is standing, ask her to cross her arms under
her chest while her hands lie on top of her arms. Her fingers and
hands should be visible with gently staggered fingers.

Then ask her to lead with one shoulder toward you and bend at
the waist toward you as well. This pose is best done laughing to
create a happy and natural element.

*This pose also works while your subject is free standing. Ask
her to cross her ankles, bend in toward you, cross her arms (like
explained above) and laugh out loud.

CO R R ECT A LTER N ATI V E I N CO R R ECT A LT E R N AT I V E

Ask your subject to raise one shoulder In the below image, the subject raised
and lean into it on the wall for a bit of BOTH shoulders, which created a tense
personality. element as well as a shorter neck.

50 MM | F/ 1 .8 | SS 1 / 2 ,0 0 0 | ISO 2 0 0
G R AS P I N G AT E L BOWS
I N STRU CTI O N

Ask your subject to cross her legs at the ankles and then gently
grasp her straight arm, at the elbow, with the opposite hand.
The palm of the straight hand should be soft and facing inward
while the hand grasping the elbow should be a bit loose and
natural.

*If your subject is having a hard time making this pose look
natural, ask her to move her hand gently up and down the
straight arm. The action will make it look natural and you can
capture the shot at the right moment.

ALTER N ATI V E ALT E R N AT I V E

Have your subject lean into her weighted Have your subject turn to the side and fold
hip (opposite of the straight hand) and her bottom arm under her chest. Then ask
look away: Down for a more intimate feel, her to use her other hand to gently move
up and out for a more confident emotion. up and down the opposite upper arm.

85 MM | F/ 1 .4 | SS 1 / 8 0 0 | ISO 2 0 0
 O N ALL POI N TS
I N STRU CTI O N

Ask your subject to lean against a wall while crossing the leg
closest to the wall over the opposite leg at the ankle. The inside
leg needs to bend slightly and rotated out, toward the wall.

The arm closest to the wall needs to be bent overhead with her
elbow resting on the wall and wrist/forearm resting gently on
top of the head. Remember to keep plenty of space between her
head and the crook of her bent arm.

The other arm can rest gently by her side, but make sure that
there is space between her waist and arm.

A LTER N ATI V E A LT E R N AT I V E

For this option, the top hand can rest If your client doesn’t have any pockets and
behind the subject’s head and if the subject you want more angle to the free hand, ask
is wearing pockets, have her place the her to rest her lower arm on her hip while
other hand inside. her elbow is pulled gently back.

85 MM | F/ 1 .4 | SS 1 / 4 ,0 0 0 | ISO 2 0 0
 P I CK I N G LE AV E S
I N STRU CTI O N

Ask your subject to stand directly under low hanging tree branches with her ankles
crossed. The arm closest to the tree should reach up into the leaves while still gently
bent at the elbow, away from the camera.

The opposite arm is bent at the elbow while her lower arm rests gently behind her
head. Keep the elbow angled away from the camera, not pointing at it. Make sure
the arm is loose and her head is not bent in, toward either arm.

To add even more connection, ask your client to bend at the waist slightly toward
the camera and raise up on her tip toes.

*It always helps to have interesting leaves to add a more dynamic element to the
image.

ALTER N ATI V E A LT E R N AT I V E

Both arms can be in the tree, however Try this pose in full sun to create interest
make sure to keep them varying in levels: and an atmospheric element in the image.
one high, one bent and low. Make sure that the shadows make sense on
the subject’s face.

50 MM | F/ 1 .8 | SS 1 / 6 4 0 | ISO 4 0 0
 T H E COOL LE AN
I N STRU CTI O N

Start with your subject standing 1 foot away from and with her
back to the wall. She should lean back onto the wall with just
her shoulders, flat against it. To prohibit her from pushing her
hips out, which can look bad in camera, ask her to tuck her hips
just a bit underneath her and back towards the wall, but not
touching it. This will keep her lines slim.

Both thumbs can rest inside her pockets loosely while she presses
her elbows against the wall gently.

Her knees should be slightly bent and feet firmly on the ground.

ALTER N ATI V E A LT E R N AT I V E

Ask your subject to turn a bit towards you Ask your subject to turn even more towards
while leaving one shoulder and elbow on you and bend the leg closest to the wall.
the wall. Her back hand can bend at the She can even rest her head on the wall for
elbow and play in her hair. some personality.

50 MM | F/ 1 .6 | SS 1 / 6 ,4 0 0 | ISO 1 0 0
 W R A P P E D U P I N ARM S
I N STRU CTI O N

Ask your subject to wrap her arms over the top of her head. Her
bottom hand should be palm down, and wrist resting on top of
the head. The upper hand can rest on the opposite arm at the
wrist, palm facing up.

Make sure that her elbows are loose (not too tight / close to her
head) and pointed to the sides - not toward the camera. Also
make sure that both wrists are loose and natural as well as the
subject’s fingers.

*Always check to see if her hair is covering her arm pits. Before
posing, ask her to split her hair in the back and bring it forward.
Then pose her for this shot, and place her hair strategically to
cover up her under arms.

ADDITIONAL POSE IMAGES

Try shooting a vertical 3/4 image with a serious expression then move in for a
happy and tight horizontal image for a quick and effective posing flow.

85 MM | F/ 1 .8 | SS 1 / 3 ,2 0 0 | ISO 2 0 0
O N YO U R M ARK , GE T S E T
I N STRU CTI O N

Your subject’s behind should rest either on a wall or short structure

with one leg bent at the knee while the same foot is kicked back,
resting against the structure. The other leg is her weighted leg
and should be straight or gently bent.

The camera front hand/arm can either rest on the structure, or

be in her pocket/down at her side. Her back arm should be bent
at the elbow while her hand is grasping her jacket lapel.

A LTER N ATI V E A LT E R N AT I V E

Ask your subject to incorporate her front To create space between her waist and her
hand into her clothing. She can grasp her front arm, ask her to bend it at the elbow
long necklace, or grab the bottom of her and away from her waist. Her back arm
jacket while the back hand is in her hair. can be down and forward a bit.

85 MM | F/ 1 .4 | SS 1 / 4 ,0 0 0 | ISO 2 0 0
C R I SS C ROSS LADY BOSS
I N STRU CTI O N

Start with your client crossing her legs at the ankle, making sure
the front leg is bent, gently at the knee. If you’d like to create
space between her legs, ask her to rotate her knee out just a bit,
with her weight rested on her back leg.

While one arm rests at her side, the other arm can bend at the
elbow while her hand rests inside her pocket. Try the full hand, or
just her thumb - whichever looks best on your subject.

*You can also have her other arm playing with hair or long
necklace.

ALTER N ATI V E A LT E R N AT I V E

You can also try this pose with the You can also try this pose while leaning
subject crossing her legs at the knee and against the wall on one shoulder/arm.
extending her front toe out just a bit for a Make sure her hands are doing something
daintier look. different.

85 MM | F/ 1 .4 | SS 1 / 3 ,2 0 0 | ISO 4 0 0
I T ’S A L L I N T HE D E TAI LS
I N STRU CTI O N

If your client has a piece of jewelry that is considered memorabilia

or they are very sentimental aboout it, why not photograph it?

Ask your client to gently run her fingers over her bracelet or
necklace while she looks down.

CO R R ECT ALTER N ATI V E I N CO R R ECT A LT E R N AT I V E

This image shows her non-bracelet hand While this is a more editorial look, it is not a
on top, which is just as aesthetically pleas- great sell-able image for a senior portrait
ing to the eye. gallery due to the fact that her face is
absent.

85 MM | F/ 1 .6 | SS 1 / 1 ,2 5 0 | ISO 2 0 0
 H AN G T E N
I N STRU CTI O N

Start off with your subject crossing her legs at the ankle or knee.

Both thumbs should be placed inside the pockets while the arms
hang loosely by her side. Elbows should be pointed backwards
and slightly out - but not too far out to prevent “chicken wings.”

For a more confident look, have your subject look off in the
distance and ask her to breathe in right before you click the
shutter.

ALTER N ATI V E A LT E R N AT I V E

*Be very careful that your subject is not Ask your subject to turn slightly to the side,
pulling the front of her pants/shorts wider front leg gently bent. Her back arm can be
than they look. Her thumbs can rest in fluffing her hair behind her ear while the
pockets, but not pull on them. front arm’s thumb is pocketed.

50 MM | F/ 1 .8 | SS 1 / 2 ,0 0 0 | ISO 2 0 0
 TI E I T T I GHT
I N STRU CTI O N

This is a fabulous pose for those with ties around their waist. It
can look very natural if you do it right.

While facing you, ask your client to cross her legs at the ankles
or knees facing you. Then ask her to grasp the tied ends in
each hand while pulling one down and one up and to the side.
Remember to keep levels in the hands - one up, one down.

Ask her to tilt her head slightly away from the part in her hair to
add personality.

A LTER N ATI V E ALT E R N AT I V E

If taking a full body shot, try this pose with If your subject is having a hard time acting
feet spread apart with one knee gently naturally, ask her to literally tie the ends,
bent in. then capture her doing it naturally.

85 MM | F/ 1 .8 | SS 1 / 1 ,6 0 0 | ISO 2 0 0
 H U G & F LU F F
I N STRU CTI O N

Ask your subject to stand slightly turned away from you, while
placing her weight on her back foot and gently bending her
camera front leg at the knee.

Her camera front arm should wrap around her waist with her
fingers on her side while her back arm lightly fluffs her hair
behind her ear.

*Be sure that her camera front arm is NOT pressed up against
her body. This can make her upper arm appear wider than it
really is due to flattening. Ask her to bring her elbow out, toward
the camera just a bit.

CO R R ECT ALTER N ATI V E I N CO R R ECT A LT E R N AT I V E

For a more intimate option, ask your Bending the camera front arm can flatten
subject to look down while slightly the upper arm and make it look wider than
bending toward you at the waist. it actually is. Her bottom hand can also
look limp at the waist.

85 MM | F/ 1 .4 | SS 1 / 3 ,2 0 0 | ISO 4 0 0
 C ROSS BAR
I N STRU CTI O N

Ask your subject to stand slightly turned away from you, while
placing her weight on her back foot and gently bending her
camera front leg at the knee.

Her back arm will raise above her head, bent at the elbow, while
her forearm rests on top of her head. Her other arm can rest at
her side, or her thumb can rest inside the same side pocket.

*Make sure that her head remains straight. Sometimes, subjects

have a tendency to bend their head in the direction of the top
arm to compensate length in the arm. Keep the head straight.

ALTER N ATI V E A LT E R N AT I V E

Try allowing your subject to relax her top If your subject is short and/or has short
hand at the wrist, allowing her fingers to arms, this pose can be modified by placing
extend down the side of her head while her hand behind her head instead of on
remaining loose yet gently curved. top of it.

50 MM | F/ 1 .4 | SS 1 / 3 ,2 0 0 | ISO 2 0 0
 WAL L P U S H
I N STRU CTI O N

Begin with your client facing the wall, about 10 inches away from
it. Ask her to gently bend her camera front knee while placing her
weight on her back leg.

Her back arm should bend at the elbow while her forearm is
placed against the wall, perpendicular to her face, about nose
height with her finger tips resting on the wall pointing towards
the camera.

Her front arm should also be bent at the elbow while her hand
gently rests on the wall at chest height, finger tips pointing up.
Remember to ask your client to bring her bottom elbow out a bit.

A LTER N ATI V E ALT E R N AT I V E

While her back elbow rests on the wall, her While her back elbow rests on the wall, her hand
forearm gently rests on the top of her head, gently rests on the top of her head, palm down
palm out with relaxed fingers. If your client with relaxed fingers. *Ask her to breathe in just
is short try the next alternative. before capture to maintain figure.

85 MM | F/ 2 .8 | SS 1 / 6 4 0 | ISO 2 0 0
 BRAI D ST ROK E
I N STRU CTI O N

*This can work with a braid or long hair over the back shoulder.

Ask your subject to stand slightly turned away from you, while
placing her weight on her back foot and gently bending her
camera front leg at the knee.

Her back hand should be placed higher in her braid while her
front hand is lower, leaving her upper body open to the camera.
Ask her to run her hands over her braid starting at the top with
the back hand, alternating hands. Click the shutter when her
back hand is higher than her front hand.

I N CO R R ECT A LTER N ATI V E A LT E R N AT I V E

Notice that her wrists are bent inward If her hair is loose and down, ask her to
toward her body. This is not aesthetically start at the front of her hair and run her
pleasing to the eye and can sometimes be fingers through the top of her hair and
called “T-Rex hands.” It looks unnatural. down the side.

85 M M | F/1 .4 | SS 1 / 2 ,5 0 0 | ISO 4 0 0
 S H I ELD YOU R EY E S
I N STRU CTI O N

Ask your subject to stand slightly turned away from you, while
placing her weight on her back foot and gently bending her
camera front leg at the knee.

Ask your client to gently rest the back of one of her hands
against her forehead, palm out, with relaxed fingers. Her other
arm can rest by her side, making sure to create space between
her waist and arm.

*To make it look natural, subject should be looking away and

down.

ALTER N ATI V E A LT E R N AT I V E

This is a great pose to do in full sun images If your subject is wearing a hat, ask her to
as it looks natural as they are shielding gently raise the brim of her hat above her
their eyes from the sun. face with the back of her hand, palm out.

50 MM | F/ 5 .6 | SS 1 / 1 6 0 | ISO 1 .0
action
POSES
please
NOTE
Action poses are best captured with “Continuous” (Nikon: AF-C) or “AI-Servo” (Canon)
focus mode in conjunction with the back button focus method. “Continuous” focus is
great for movement because your camera identifies that your original focus point is
moving, and will actually follow that focus point, keeping it sharp. This way, your focal
point will follow your subject as she moves, allowing her to be in sharp focus when she
turns to connect to your lens. This will take a bit of practice if this concept is new to you,
but trust me, it produces beautiful results once you get used to it!
 D O T HE C HA-C HA
I N STRU CTI O N

Begin with your subject standing up, straight to the camera, with
her feet about hip width apart. Ask her to turn each leg inward
at the knee, alternating by keeping one knee over the other
again and again. When she is bending her knees, her same
sided foot should go up on the toe while the heel turns out a bit,
like pictured here. Ask her to keep her knees together no matter
what, which presents as a rolling movement that is very smooth
and natural looking.

She can grab her skirt/dress and ruffle it with the alternating
knee bends like a “cha-cha” dance, or she can let her arms rest
at her sides, allowing them to loosely sway as she turns back and
forth.

A LTER N ATI V E ALT E R N AT I V E

The image shown below is when the Notice her arms below. If your subject’s
subject also turns slightly with the arms are loose by her side, they should
movement of the legs. “flop” gently with the movement.

85 MM | F/ 1 .8 | SS 1 / 3 ,2 0 0 | ISO 2 0 0
 LOOK BAC K
I N STRU CTI O N

Begin with your subject facing AWAY from you. Instruct her to
begin walking as if she is on a tightrope. She doesn’t need to
walk slowly, a normal pace is fine. Tell her that when you count
to three, she will need to turn and look over her shoulder as her
arms gently swing open with the movement.

*This is easiest done by turning the direction that her back leg
is at. For example, if she’s turning over her left shoulder, her left
leg should be behind her. Remind her to keep her neck long and
her jaw extended over her body.

CO R R ECT A LTER N ATI V E I N CO R R ECT A LT E R N AT I V E

Notice in the below image how her jaw Notice that when this subject looked back,
is still extended along with her arm and she pulled her jaw in, which creates a very
back leg. stiff “look back” creating tension.

85 MM | F/ 1 .8 | SS 1 / 4 ,0 0 0 | ISO 2 0 0
 S P I N N I N G TOP
I N STRU CTI O N

Begin with your subject standing in front of you. Ask her to spin in a complete
circle while her head “spots” you. “Spotting” is when she maintains eye contact
with your lens throughout the spin as much as possible. This usually results in a
held gaze, a quick break for her to whip her head around, and then lock focus
back onto your lens.

It’s very important for your subject to keep her legs TOGETHER while spinning.
You can even ask her to make little “baby steps” with her feet for a full rotation.

If spinning in one circle comes easy to her, ask her to spin repetitively until you
capture your shot. Ask her to allow her arms to gently move with her spinning
while remaining loose.

A LTER N ATI V E ALT E R N AT I V E

If your subject is wearing a long dress/ If this pose comes easy to your subject, ask
skirt, have her grab the fabric at knee her to add a shoulder shrug when she turns
length to gain a ton of movement. and makes eye contact. It adds personality.

85 MM | F/ 1 .4 | SS 1 / 2 ,5 0 0 | ISO 6 4 0
 I N STRU CTI O N

Begin this pose by asking your subject to walk in a large oval while intermittently
looking back at you, over her shoulder on the outward turn, like shown in the
featured image.
OVAL WAL K *While walking can be subtly interesting, it looks even better if you give her an
action term like “march in an oval,” “skip in an oval,” or “jaunt in an oval.” These
actions can cause the hair to bounce and create beautiful movement in her dress.

*Remember that you want to capture the shot when the leg closest to you is
forward, not backward. If you capture it when the back leg is forward, it will add
a ton of mass to your subject and look unappealing.

A LTER N ATI V E A LT E R N AT I V E

The more movement that you can get out When walking in a tall field, instruct your
of your client, the better it will come out, subject to brush her fingertips along the
in camera. tops of the grass/flowers for a natural look.

50 MM | F/ 2 .0 | SS 1 / 6 4 0 | ISO 4 0 0
 CO M I N ’ ATC H’ YA
I N STRU CTI O N

Begin with your subject standing 10-20 feet in front of you. Ask her to skip/march/
jaunt toward you with a lot of animation and movement. These action prompts
can cause the hair to bounce and create beautiful movement in her dress.

*Ask your subject to look away, re-connect with the camera, grab her dress, run
her fingers through her hair, etc while she is moving toward you. This allows her
to interact with the camera in a very natural way.

*This is a great capture at 3/4 tight so that you don’t have to worry about awkward
feet or knees.

ALTER N ATI V E ALT E R N AT I V E

The more emotion and animation that Capturing a “less than perfect” pose can
your subject can provide, the better the actually be quite editorial and extremely
connection. natural in camera.

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 WALK T HI S WAY
I N STRU CTI O N

Begin with your client standing about 20-30 feet in front of you. I
know that seems far, but you’ll understand in a bit. Ask her to walk
toward you as if she were walking on a tight rope, one foot in front
of the other. There is no need for her to slow her pace down, she will
need to walk at a normal pace and her arms should swing opposite
her legs.

As she is walking, you will want to make note of her rhythm as her
feet hit the pavement (which is why you want to start with her farther
back, so you have time to catch her rhythm). You want to capture
the shot just as her front heel strikes the ground and her back heel is
in the air. This provides nice long lines in her legs.

CO R R ECT A LTER N ATI V E I N CO R R ECT A LT E R N AT I V E

Notice how her feet are exactly at the This shot was taken too late, as her back leg
point that you want to capture the image: is already dragging to advance the stride
front heel down, back heel up. forward. It can look awkward as shown here.

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sitting
POSES
L E VE L ED S I T AN D C ROSS
I N STRU CTI O N

*This pose works best on shallow stairs, a curb, or a shallow sitting structure.

Ask your subject to sit on the step facing you, one leg will bend inward at the
knee, as her heel is pushed back toward her behind and the leg is laid on the
ground. Her other leg will bend at the upward pointing knee, with her foot flat
on the ground crossed over the bottom leg (it’s ok for her to be on the ball of her
grounded foot as well).

The arm that is on the same side as her upward knee will meet that knee at the
elbow as her arm is bent so that her hand can relax at her face or play with her
hair. The other hand needs to cross in front of her crotch and block it from the
camera to maintain modesty.

CO R R ECT ALTER N ATI V E I N CO R R ECT A LT E R N AT I V E

Notice that even though her legs are In this example, her hand is on the inside of the
wide apart, she is maintaining modesty point that her legs cross when it should be on
by blocking view with her arm. the outside. You always want to see where the
hand is when it’s so close to the crotch area.

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 LE AN BAC K
I N STRU CTI O N

This pose begins with your subject sitting on steps while you shoot from her side.
Ask her to lean back with her camera front elbow resting on the step higher
than the one she is sitting on. That elbow should not be directly underneath her
shoulder when she leans. If her upper arm looks squished, she needs to scoot her
elbow out toward you just a bit. This arm’s hand should be loosely hanging at the
wrist.

Her other arm/hand MUST be seen in camera. You can ask her to wrap it loosely
around her waist so that it almost touches her other hand, or she can gently grasp
her necklace with staggered fingers, or have her hand in her hair.

CO R R ECT ALTER N ATI V E A LT E R N AT I V E

The below image shows her back arm For a more fierce look, ask your subject to
wrapping loosely to the front to show a shrug her camera front shoulder up for a
natural pose. bit of attitude.

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 S I T AN D LE AN I N
I N STRU CTI O N

This pose begins with your subject sitting on a step/chair/structure with her knees
together and bent with both feet flat on the ground.

Ask your subject to bend forward at the waist, over her legs while her camera
front arm rests on her upper legs (just short of her knees). Her camera front arm
should be bent at the elbow with fingers facing opposite from the camera. Her
camera back elbow should rest on top of her knee while her elbow is bent in with
her hand gently brushing her jawline with her fingertips.

*It’s important to place yourself so that her upper body is still open to the camera.

I N CO R R ECT ALTER N ATI V E I N CO R R ECT A LT E R N AT I V E

While this is the same exact pose as With both hands down and crossed wrists,
described above, it’s taken from too far of it forces the pose and can look unnatural.
a side angle. This can capture the curve
of the back and add mass to the subject.

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 W I D E SI T AN D C ROSS
I N STRU CTI O N

Begin with your client sitting on the ground facing you.

One leg will bend inward at the knee, as her heel is pushed back toward her
behind and the leg is laid on the ground yet her knee will come up off the ground
a bit. Her other leg will bend at the upward pointing knee, with her foot flat on
the ground crossed over the bottom leg (it’s ok for her to be on the ball of her
grounded foot as well).

The arm that is on the same side as her upward knee will meet that knee at the
elbow as her arm is bent so that her hand can relax at her face or play with her
hair. The other hand needs to cross in front of her crotch and block it from the
camera to maintain modesty.

ALTER N ATI V E A LT E R N AT I V E

Try shooting this pose with your subject You can also have her knee resting arm
resting herself against a wall for a turned down, gently hanging for a more
different angle and look to the image. simple pose.

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 WIDE SIT
I N STRU CTI O N

Begin with your subject sitting to a slight angle on stairs or rocks or something
with leveled structure. This pose works great if the feet can be at different levels
to add a more interesting dynamic.

With feet flat on the ground, the subject should keep her feet and knees wide and
away from each other, creating a wide leg base.

Ask your client to then bend forward at the waist, over her legs while both of her
elbows rest on her thighs with her elbows bent and forearms pointing toward
each other in the middle directly underneath her head, between her legs. Her
hands should be loose, hanging at the wrists.

ALTER N ATI V E A LT E R N AT I V E

Try this pose with her back hand inverted You can also have your subject lift one
at the elbow with her hand supporting hand toward her face with her fingertips
her arm on her knee, fingers pointing gently brushing her jawline or in her hair.
inward.

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 S I T T I N ’ P RE T T Y
I N STRU CTI O N

This is a great feminine pose for a subject in a dress or in shorts.

Begin with your client sitting on the ground with her knees bent as her lower legs
bend back and her heels are bent toward her behind. Her legs will gently lay on
top of each other on the ground at the knee for this pose.

Her arms can cross at the wrist while laying on top of her thighs, palms down.

*Make sure that your subject remains upright at the waist, as this pose can pull
her to the side.

A LTER N ATI V E A LT E R N AT I V E

Her back arm could also bend at the elbow She can also sit “deeper” into this pose by
with her hand resting on her face. If she turning her upper body toward her feet.
bends over too much, ask her to pull her
top leg over even more to compensate.

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 CO OL LE V E LS
I N STRU CTI O N

Begin this pose with your client sitting on the ground angled
slightly away from you. Her back leg will bend at the knee and
that foot should rest flat on the ground while her knee is straight
up. Her other leg can rest flat on the ground directly in front of
her.

Her back arm can bend at the elbow and rest on her knee or
upper leg, near the knee. Her wrist should be loose with fingers
hanging toward the ground. Her camera front arm can rest on
top of her bottom leg thigh while she gently grasps a finger from
her opposite hand with loose and staggered fingers.

ALTER N ATI V E A LT E R N AT I V E

Note in this example, that her bottom leg If she scoots her back foot closer to her
is raised ever so slightly to close the gap behind, creating a steeper knee, she can
between her upper leg and lower leg. rest her elbow on that knee while her hand
can rest in her hair.

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 CU RB S I T T I N G
I N STRU CTI O N

This pose begins with your subject sitting on a curb or staircase,

facing you.

Her knees will be bent while her lower legs bend back towards the
subject with her feet on the ground. Her heels should be near her
behind.

Her upper body should be bent slightly over her legs with her arms
in front of her, wrists crossed and resting on either knee, with fingers
loosely hanging towards the ground.

CO R R ECT ALTER N ATI V E

Her front arm can also rest at her side with her hand
at her ankle, while her other arm can bend at the
elbow with hand in her hair.

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 S IT AN D K I C K
I N STRU CTI O N

This pose begins with your subject sitting on a shallow stepped structure, in this
case a small lumber pile.

While both legs are bent at the knee, the back leg is still in front of the subject bent
slightly while her heel is on the ground and her toes are in the air. Her camera
front leg is bent so much so that her heel is bent back toward her behind and her
foot is flat on the ground. Both knees are pressed together to maintain modesty.

Her camera back arm is bent at the elbow and resting on her knee while her
hand is gently supporting her face and the camera front arm is gently bent at the
elbow while her forearm rests loosely on top of her camera front thigh and knee.

A LTER N ATI V E A LT E R N AT I V E

You can also try this pose with both elbows Move in for a closer shot with both elbows
resting on her knees, with her forearms resting on her thighs while her back hand
gently crossed at the wrist with her fingers gently touches her jawbone and the camera
hanging loosely toward the ground. front hand wraps to the back of the other hand.

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 MOD E ST K N E E S
I N STRU CTI O N

Start out with your subject sitting on stairs or another leveled

structure.

Ask her to slightly angle herself away from you while both
knees are bent and feet are slightly apart. Her toes should
be pointing in the same direction. Her camera back leg will
naturally be a bit higher than her camera front leg which will
create lovely levels for a more dynamic image.

Her arms can rest gently on the tops of her thighs with her
hands loose and natural.

A LTER N ATI V E A LT E R N AT I V E

Another option for this pose is for her to Another option to the previous alternative pose is
stay straight to the camera, with one leg to have her grab the edges of the step she is sitting
bent inward at the knee and both hands on with fingers forward while her shoulders are
draped over each other gently. shrugged up and she is gently leaning forward.

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 I N STRU CTI O N

This pose begins with your client sitting on the ground with her
legs out in front of her, angled slightly away from you.

Both legs should be gently bent at the knee while the camera
back knee is slightly higher than the other. Her camera back
SITTIN G TEN T arm is straight as her forearms rests on her back knee. Her
camera front arms rests gently by her side.

If she can lean back and look back at you, it creates a more
interesting image.

A LTER N ATI V E ALT E R N AT I V E

If your subject can bring her knees up For more dynamic levels, ask her to lower
even further so that her camera back her camera front leg down gently while
elbow can rest on her knee, it makes a her back elbow rests on the top of the back
great second capture. knee.

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 Z I G-Z AG S I T
I N STRU CTI O N

Begin with your client sitting on at least two steps up from the ground turned
away from you very slightly.

Her camera back leg will be bent at the knee with her foot firmly on the step
directly below the one she is sitting on. This should put her back knee at about
chest height. Her camera front leg is bent at the knee and her foot is pulled back
so that it is directly under her behind, but down two steps from it. This creates
deep levels in the legs.

The back arm is bent inward with her forearm resting on her back knee. The front
arm is draped across her bottom thigh, loose and natural.

CO R R ECT ALTER N ATI V E I N CO R R ECT A LT E R N AT I V E

Both arms can also be bent at the If her feet are spread too wide from each
elbows and drape over each other at the other, it creates a gap between her legs
forearms while resting on her thighs. which can look messy and accidental.

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 H A RD AN GLE S
I N STRU CTI O N

This pose begins with your client sitting on a step at least three
steps up from the ground.

The back leg will bend at the knee while the back foot is firmly
on the ground, two steps below from her sitting step. The front
leg is bent at the knee while the foot is pulled backward so that
it is directly underneath her behind on the step below it.

Both arms are extended over the top knee crossing each other
at the forearm with both hands hanging loosely at the wrists.

A LTER N ATI V E A LT E R N AT I V E

You can also shoot this straight on, For a second shot, move in closer. The arm opposite
however make sure that the lower leg her higher knee can bend inward and rest on the
is bent in at the knee slightly with foot upper thigh, while her other arm can bend at the
inverted. elbow and rest at her knee with hand in her hair.

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 E L BOWS TO K N E E S
I N STRU CTI O N

This pose is great for shorter subjects. It begins with her sitting on steps, at least
three steps from the ground, facing the camera straight on.

Both knees are slightly bent and inverted while one foot is on the step below
her behind, and the other is two steps below her behind with both feet slightly
inverted. The top knee should rest on top of the bottom knee as shown.

Her forearm of the same side as her top knee should rest on the upper knee while
her hand hangs at the wrist, extending down, across her body. The other elbow is
bent resting on top of the other forearm with her hand gently supporting her face
with fingers at the jawbone.

ALTER N ATI V E A LT E R N AT I V E

This pose can also be done with the same In relation to the previous alternative, you
sided elbow on top of the higher knee can also bend the other arm at the elbow
with her hand at her face. The other arm and wrap the hand gently around the
can rest where both knees meet. upper arm supporting the face.

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 I N STRU CTI O N

Ask you subject to sit “criss cross apple sauce” facing the
camera. She will need to bend at the waist, slightly over her
legs.

One hand is bent at the elbow and resting on the same sided
C R I SS C ROSS AP P LE SAU C E knee with her hand gently brushing against her jawbone. The
other arm is slightly bent and resting in front of her body on
the outside leg’s lower half. This helps block her crotch and
maintains her modesty.

ALTER N ATI V E A LT E R N AT I V E

Ask her to raise the knee that she is A great second capture is to move in and
resting her elbow on until it is chest high. shoot your subject deep into the lean.

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 KN EE S AN D ARM S
I N STRU CTI O N

This pose is best done with a shallow structure for your subject to sit on - preferably
near the ground.

Her legs should be directly in front of her, bent at the knee slightly. Her knees
should also be pressed together while her feet are inverted.

Her camera back arm should bend at the elbow which is resting on her back knee
while her fingers are gently brushing her jawline. Her front arm should also be
bent, however her forearm should be resting on the same sided thigh, inverted
with her fingers pointing away from the camera, with a loose wrist and fingers
hanging down.

A LTER N ATI V E ALT E R N AT I V E

Have her extend both hands down over To change it up a bit, ask her to bring her
her knees while crossing them at the wrist knees more into her chest while keeping
with her fingers hanging loosely. them close together, and crossing her legs
at the calves.

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 S I T T I N G ON T HE X
I N STRU CTI O N

This pose works best with at least two steps above the ground.

Ask your client to sit on the second step above the ground (at least), facing the
camera straight on. Her bent knees should be pressed together to maintain her
modesty and her feet should be about hip width apart and slightly inverted.

She should bend at the waist, slightly over her legs with both arms in front of
her resting on her knees, and crossed at the forearms with her hands loose and
hanging at the wrists.

ALTER N ATI V E ALT E R N AT I V E

She can also bend one of her hands up For a more editorial look, try having
toward her face to support her head with her arms crossed and straight, hanging
gently fingers. between her knees.

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 I N STRU CTI O N

This pose begins with your subject’s legs out in front of her. Her camera back knee
should be bent, about chest high, with her foot firmly on the ground. Her camera
front knee should also be bent, but slightly lower than the back knee, with foot
also firmly on the ground.

Her back arm should bend upward at the elbow and rest deeply on top of her
S I T & HARD L E AN back knee while her hand is on the top/back of her head, and in her hair. Her
front forearm can rest along the same sided thigh with a loose wrist.

Her head should bend slightly into the upper arm, but her nose should remain
straight into the camera’s direction.

CO R R ECT A LTER N ATI V E I N CO R R ECT A LT E R N AT I V E

For a very deep bend, she needs to place her Notice that her front arm is not bent, and
elbow at her mid-lower leg while leaning therefore, blocking the view of her upper body.
into the pose with her front arm pulled back. This closes her off to the camera.

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squatting
POSES
 LO N G L EG SQUAT
I N STRU CTI O N

Ask your subject to stand up straight and slightly push her camera back foot out
directly in front of her. Then ask her to squat directly down over her front camera
foot. Her behind should be resting on her camera front heel. Her back leg should
extend even more out making sure that her knees are at least the same height, but
never lower than the front knee. Her knees should also be pressed together. Her
weight should be on her front foot.

Her front arm can rest at her side, and her camera back arm should be bent at
the elbow while her forearm rests on her back knee, and crossing her body with
her hand in the direction of the camera, hanging loosely at the wrist.

*Look for SPACE between her back waist and her arm.

ALTER N ATI V E

If she is wearing pants, she can set her knees wider apart and rest her camera
front arm on her front thigh with her hand hanging between her knees, as the
other hand hangs near it as well.

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 S H O RT L EG SQUAT
I N STRU CTI O N

Ask your subject to stand up straight and slightly push her camera back foot out
directly in front of her. Then ask her to squat directly down over her front foot.
Her behind should be resting on her camera front heel. Her back leg should
remain higher than the camera front knee and her feet should remain close to
each other. Her knees should also be pressed together. Her weight should be on
her front foot.

Her front arm can rest at her side, and her camera back arm should be bent at
the elbow while her forearm rests on her back knee, and crossing her body with
her hand in the direction of the camera, hanging loosely at the wrist.

CO R R ECT A LTER N ATI V E I N CO R R ECT A LT E R N AT I V E

Her back hand can also gently support If the subject is bent over her knees too far, you will
her head, or be in her hair. capture the curve of her back and add mass to her
body and remove the space of her waist.

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 KN E ES OU T SQUAT
I N STRU CTI O N

Ask your subject to stand up straight and very minimally push her camera back
foot out directly in front of her. Then ask her to squat directly down over her back
camera foot. Her behind should be resting on her camera front heel. Her knees
should be either at the same height, or her back leg can be minimally higher than
her front knee. Her weight should be distributed evenly between both feet.

She should be positioned straight up (not with a curved back) with her back arm
gently bent and resting on her back knee, with her hand hanging towards the
camera. Make sure it’s pushed away from her waist to create space. Her front arm
should also be bent with her hand in her hair for a natural feel.

CO R R ECT A LTER N ATI V E I N CO R R ECT A LT E R N AT I V E

This shows a knee slightly higher, but not as Both hands crossed at the wrist and on top
high as the “short leg squat” pose. Her front of her knees looks forced and unnatural.
hand is also resting in her back pocket to keep
her upper body open to the camera.

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laying down
POSES
 I N STRU CTI O N

This pose begins with your client laying on her back.

Her back arm should extend above her head and bend at the elbow with her
hand directly above her head, but not resting under it. Her front upper arm can
MOST FAM OU S POSE E V E R rest on the ground while her forearm is wrapped low around her waist.

Her nose should follow the camera and you should shoot from at least eye level
or above. That means that when you are looking at her laying there, do not move
past her eyes. This can cause her chin to drop, her neck to appear shorter, and her
eyes to look smaller as they follow you. Stay at least eyebrows or even forehead
level and deep (tall) over her. If you shoot too low to the ground and too far back,
you’ll catch the whites of her eyes.

ALTER N ATI V E A LT E R N AT I V E

A really good tip is to ask your client to “split Try an even deeper shot, almost directly
her hair in the back” before she lays down. over her with both arms bent as her hands
This allows her hair to fall over her shoulders. grasp the brim of her hat.

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 I N STRU CTI O N

This pose begins with your subject laying on her lower elbow and hip facing the
camera. Her lower forearm should be turned into her waist, not out in front of
her pointed at the camera. Her back wrist can rest slightly bent, at her upper hip
E L BOWS ON T HE S I D E while her elbow sinks behind.

Her legs should be slight bent at the knee with her feet kicked back and knees
pushed forward just a bit.

*Make sure that she doesn’t sink into her lower shoulder and keeps her neck long.

A LTER N ATI V E A LT E R N AT I V E

Her upper arm can also bend upward If she’s wearing a hat, try the alternative
with her elbow in the air and her hand pose but let her index finger of a very loose
resting on the top of her head. fist raise her brim very slightly.

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 I N STRU CTI O N

This pose begins with your subject laying on her stomach. She
should support her upper body by lifting up and resting on
her elbows, a bit more than shoulder width apart. One hand
STO M AC H D OW N can support her head gently.

Her legs should be crossed at the ankle and swing to one

side so that they are not directly over her head, creating the
“bunny ears” effect.

Her head should tilt the opposite direction that her feet are
swung.

A LTER N ATI V E ALTE R N AT I V E

If you want your subject “higher” in the Move to the side of her and ask her to bring
pose, ask her to bring her elbows in, her front hand to her face, palm inward.
closer to her body. Catching her in a laugh can look very natural.

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 I N STRU CTI O N

This pose begins with your client sitting down on side of her hips with her knees
bent in front of her, lying on the ground, with her lower legs kicked back towards
her behind. Her knees should be slightly laying on top of each other.
H AL F SI T/ LE AN The arm opposite of her feet will be her supporting arm as her hand is on the
ground and her elbow is slightly bent, with her fingers facing slightly behind her.
Her other arm can be resting at her side with elbow bent, as her forearm crosses
in front of her and lies in her lap.

*Make sure she doesn’t sink into her supporting shoulder.

A LTER N ATI V E A LT E R N AT I V E

If she can’t help but sink into her This is a great pose for your subject to lean
supporting shoulder, move her hair over against a wall, fence or other structure. Ask
that shoulder to disguise it. her to rest her head on the wall as well.

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