The model: some do's and don'ts of basic posing

PSA Journal, May, 1989 by Tom Fahey

The Model

Some Do's and Don'ts of Basic Posing

A good model is a diamond in the rough. With polishing and the proper ingredients, he or she will sparkle on film. This article will present a few helpful model posing techniques. With more experienced models, manipulation becomes less important, as they themselves will "turn-on" in front of the camera and run through a gamut of interesting poses. The beginning model, however, usually needs as much help as possible in order to truly shine.

When shooting fashion/beauty work, these are the details to address for highest professional standards: (1) mastery of film choice and camera, (2) mastery of the lighting situation, (3) hair and make-up styling, (4) clothes styling and (5) the model.

Most photographers in this field rely on other people to keep track of these different elements. Seldom, though, can a beginning photographer afford to bankroll all the needed stylists and assistants while building a portfolio. Many times artists will collaborate and use the photos produced in everyone's own portfolio: some for the hairstyle, some for the makeup, etc. But when first starting out, it's usually just the photographer and a model, for better or worse.

The beginning model is often easily intimidated by a camera, whereas it is extremely important for the model to relax and be as comfortable as possible. One of the obvious manifestations of a nervous model is the "stare of doom," a stiff, frightened look that projects through the eyes. Another symptom of nervousness is, when direction for the right hand is given, the model responds by moving the left instead. As I learned in my brief drama training, relaxation is the key to control.

The photographer/model relationship is based on trust. The model will trust that the photographer knows how to achieve the desired results, so try to spend as little time as possible figuring out f-stops and film speeds. Try to be as fully prepared as possible prior to the shoot, not only to fully utilize valuable shooting time, but also to avoid the image of a "rookie" photographer. What the model doesn't know can't hurt. As in life, always strive to be organized and efficient.

After the model has relaxed and rapport has been established, confidence can be maintained by reinforcing communication. Stay close to the model verbally, suggesting new ideas and commenting when a shot works especially well.

An excellent way to get practical experience is with friends. Friends are far more likely to be patient and overlook short-comings. In addition, prints make great gifts.

Try also to get a basic idea of the image to be projected. This is a preliminary necessity for the planning of any shoot. Talk to the model about ideas, and provide example photos for guidance. New ideas and interpretations of that starting theme will develop as the shoot progresses.

Basically, there are two different initial poses to start from: the head-and-shoulder and the 3/4- or full-length. When posing the model for a head-and-shoulders shot, keep the back straight to avoid slumped shoulders. Try shooting with the shoulders at an angle to the camera, as this will get away from the police mugshot syndrome. Adjust the camera level and suggest chin movement to seek the most pleasing pose. Since opposite sides of the same face photograph differently, shift position enough to find the side that photographs best. Allow the model's hands to rest naturally in the lap or place one arm on the back of the chair, which will sometimes provide a pleasing slant of the shoulder plane.

Another popular pose is to let the chin rest on one or both of the hands. Care must be taken so that the fingers fall naturally, and the palms or the back of the hands cannot be broad towards the camera. The hands should be relaxed and not covering the face.

Try also letting the model's head fall slightly to one side. With male models, watch tilting the head too much to avoid a feminine pose. Don't let the chin go too high. Nostril shots are seldom flattering. Watch, also, that the head doesn't go too low and create a multiple chin problem.

Look for tension, as this can be particularly unflattering for female models. Don't let the chin twist around so far that lines appear on the neck. Make sure that when a model looks up or away, not too many forehead wrinkles appear.

For a standard portfolio head shot, keep posing graphic and classical. After some good, strong images have been shot, use another roll to try out new or unusual poses that might work. Don't hesitate to take as many rolls of film as possible. However, once the model gets tired or bored, the photos will lose spontaneity and brightness.

The 3/4- or full-length shot is trickier than the head shot simply because more body per square inch requires that much more attention to detail. With the new model, start off by running through a few "catalog" type shots. Begin by setting an "S" shaped body curve by angling the hips sideways to the camera and bringing the shoulders back broad to the camera. This has the effect of slimming down the model's apparent weight. The "S" shape can be achieved through a variety of different poses, and personal experience will determine which one seems to work best. Watch the feet, as they can easily looked clubbed. Keep the weight on one leg or the other and move the second around to a visually pleasing spot. Pay close attention to head placement as well, perhaps letting it fall to one side.