Table Of ContentR O L A N D O G O M E Z ’ S
Posing
Techniques for
GLAMOUR
PHOTOGRAPHY
Amherst Media
®
PUBLISHEROFPHOTOGRAPHYBOOKS
Copyright©2009byRolandoGomez.
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Table of Contents
Preface .................................6
Foreword ...............................8
Introduction ............................10
1. Factors That Impact Posing .............14
CulturalPerceptions ......................14
TheSubject’sExperience ...................16
Models .............................16
Non-ModelSubjects ...................18
GentleCorrections ....................20
TheModel’sSelf-Esteem ...................20
TheStorytobeTold ......................22
2. Posing Basics .........................23
TheSubject’sComfort ....................23 SlimmingtheLegs .....................39
BeingSensitivetotheSubject ...............24 LengtheningShorterLegs ...............43
TakinganIndividualizedApproach ...........27 BareLegs ............................43
TallSubjects .........................27 TheFeetandToes ........................43
ShortSubjects ........................28 Direction ............................43
ThinSubjects .........................29 PointtheToes ........................43
HeavySubjects .......................29 AvoidDistortion ......................44
TheThreeMainBodySections ..............30 Grooming ...........................44
KeepanEyeontheClothing .............44
3. The Hips, Legs, and Feet ................33
FromtheWaistDown .....................33 4. The Torso, Arms, and Hands ............45
TheWaistandHips .......................33 TheTorso ..............................45
TheButtocksandUpperThighs .............33 AbdominalAreas .........................45
TheLowerThighsandCalves ...............37 Creases .............................45
OneSupportLeg,OneAccentLeg ........37 ABellyoraSix-Pack ...................45
BendIt .............................39 TheNavel ...........................46
TABLEOFCONTENTS3
ClothingMarks .......................47 HandsonHips .......................56
TheBust ...............................47 HandstoConceal .....................57
AccentingSizeandShape ................47 Fingernails ...........................59
UnevenBreasts .......................47
NaturalBreasts .......................48 5. The Neck, Head, and Face ...............60
AugmentedBreasts ....................48 TheNeck ..............................60
OtherConcerns .......................49 TheEars ...............................61
TheShoulders ...........................49 TheHair ...............................61
TheCollarbones .........................50 TheNose ..............................63
TheArms ..............................52 Don’tBreaktheLineoftheCheek ........63
BendtheElbows ......................52 NoseSize ............................63
SeparatetheArmsfromtheTorso .........52 TheNostrils ..........................64
SlimmingtheUpperArms ...............52 TheLips ...............................64
UsingtheArmstoHideProblemAreas .....52 SetaRelaxedMood ....................64
FramingtheFace ......................53 EncourageVariations ...................64
TheHands .............................55 ThePerfectSmile......................64
SideView ............................55 Lipstick .............................66
HandswithProps .....................55 TheTeeth ..............................66
Jewelry .............................56 TheEyes ...............................67
AvoidCanoeing .......................67
DirectionoftheEyes ...................67
UnevenEyes .........................68
OneEyeorTwo ......................68
Catchlights .............................68
Makeup ................................68
6. Sit, Stand, or Lie Down .................70
Sit ....................................70
HidingtheStomachArea ................70
PosingonBeds .......................72
The“PageThree”Pose .................72
ToAccenttheLegs ....................72
Stand .................................72
LookforSCurves .....................74
RaiseaFoot ..........................75
RearViews ...........................75
LieDown ..............................77
TryDifferentSettings ..................77
TheBreasts ..........................77
OnHandsandKnees ...................77
WatchtheLines .......................78
7. Composition .........................80
Lines .................................80
ImpliedLines .........................80
ImaginaryLines .......................80
InherentLines ........................81
DiagonalLines ........................81
LeadingLines ........................83
TheCameraContrived ....................83
Framing .............................84
MoveIn,MoveOut ....................84
GetCreative .........................84
SwitchLenses ........................87
DirectionofthePose ......................88
NaturalDirection ......................88
Cropping ............................88
ActionandMotion .......................90
8. Communication and Art Direction ........93
RapportStartswithYourFirstCommunication ..93
WhattoSay(AndWhatNottoSay) ..........95
BeObservantandReacttoWhatYouLearn ....95
OnthePhoneorViaE-Mail ................97
HelpfulDetails........................98
VagueCommunications ................101
WorkingwithModels ....................102 LargerNoses ........................119
ArtDirection ...........................103 DisproportionateHeightandWeight ......119
TheBottomLine .......................105 VisibleHairRootsorExtensions .........119
PoorlyGroomedNails .................119
9. How Do IGet That Pose? ...............106 TanLines ...........................121
TheHeadshot ..........................106 DiscoloredorCrookedTeeth ............122
TheBust-UpPose .......................109 ThinorUnevenLips ..................122
TheThree-QuarterPose ..................111 DarkorSmallEyes ....................122
TheFull-LengthPose ....................111 RoundorSquareFaces ................122
TheBacksidePose .......................112
TheTraditionalPage-ThreePose ............115 Resources ............................123
TheImpliedNudePose...................115 CommercialandInformationalWebSites .....123
MySponsorsandSupporters ...............123
10. What to Look For, What to Avoid .......117
TenQualitiesoftheIdealGlamourModel .....117 Conclusion ............................124
CorrectingWhat’sLessThanIdeal ..........119
LackofMuscleTone ..................119 Index ................................125
TABLEOFCONTENTS5
Preface
I
nmyfirsttwobooksforAmherstMedia,theprefacestartedoutwith,
“Creatingabookissometimesfun,sometimeshard,sometimessad—
and sometimes you just want to quit.” Well that sentiment rings true for
this book, too (and I’m sure it will apply to my future books, as well).
After all, writing takes dedication that’s often interrupted by life. Not to
mention,writingislikephotographyorevenwritingasong;it’sanart,and
allartistsworkbetterwhenmotivationstrikesthem.
I’ve always provided “thanks” to my family and friends in my books,
thathasn’tchangedeither.I’vealsoalwaysaskedpeoplenottoforgetthe
menandwomeninuniform,alongwiththeirfamiliesandfriends.Thisre-
questtokeeptheminyourprayershasn’tchangedeither.Ifyouseeamil-
itary veteran, please thank them for their service; without them, these
bookswouldnotbepossible.Writersrelyonfreedomofspeechandfree-
dom of the press, and sometimes it takes a military to keep that going.
Everyone,pleasecomehomesafe!
AsIwritethispreface,whichismoreofadedicationpage,Iwondered
Finally,someonecapturesagreatimage
who I should dedicate this book to (while my previous books have the ofme.Ihatehavingmyphototaken!
above-notedsimilaritiesinthepreface,theylaterbreakouttoidentifyspe-
cificpeoplewhomadeuniquecontributionstoeachbook).AsIthought
andthought,myminddrifted.DoIthankmy“best”friends?Theanswer
camebackno;I’dsurelyoffendsomeonewhothoughttheyweremybest
friend.DoIthankmycolleagues?Nope.Thisisanegotisticalprofession;
manytakeyourthanksandthenturntheirbacks(ofcourse,therearetrue
friends,likemymentorRobertFarberandadvisorJesseGámez).Likelife,
photographicsuccessisbasedonrelationshipsthatgrowandchangeover
time.Somegosour,somesucceedandturnsweetlyripe.
When I chose to write this book, knowing the long hours I’d have
toputinit,Ididn’tdoitbecausesomeonepromisedmeagoldenegg.I
didn’t do it because my mother told me to (in fact, she is not a fan of
6POSINGTECHNIQUESFORGLAMOURPHOTOGRAPHY
glamourphotography).NordidIdoitbecausemyfathertoldmeto(al-
thoughheenjoysthephotosmorethanmymomdoes).Idecidedtowrite
thisbookbecauseIfeltboundtosharemyknowledgewithallmyfriends,
those I know personally and those Imay never meet but who share my
passionforphotography.
This book is also very personal—like a friend to me. Both of my last
twobooksfeaturedsomeimagesfromphotographerfriendsofmine.This
book, on the other hand, is 100 percent my photography (with the ex-
ceptionoftheauthorphoto).
Photographyismydearestfriend.Itkeepsmyheartgoingandmylife
interesting.Ihopeit’sonefriendI’llneverlose,becausethenIknowI’ll
berestinginabetterplace(evenifmymomdoesn’talwaysthinkso).God
Bless,andkeepourveteransandtheirfamiliesinyourprayers!
Igointoeveryshootwithaconceptinmind,butIalsokeepmymindopentootherideas.WhilephotographingCherie,Ilikedº
herplayfulpose,soIturneditintoamoredramaticimagebycroppingittocreatemoreofanabstractform.Ialsochangedto
asingle,highlydirectionallightsource.(Camera:OlympusE-1;Lens:OlympusZuiko50mmlens,effectivefocallength100mm;
ISO:100;Shutterspeed:1/125second;Aperture:f/6.3;Lighting:HenselIntegraProPlus500monolightfittedwitha7-inchre-
flectorand10-degreegridtotherightofthemodel;Whitebalance:6000K)
PREFACE7
Foreword
W
ritingbooksseemtofollowmyage;theolderIget,themoreI
write.Inreality,ofcourse,it’snotagethatforcesmyfingersto
hitthekeyboard,it’smoreamatterofexperience.Evenafterthirtyyears
ofshooting,I’veneverstoppedlearningaboutphotography—especiallyin
today’sdigitalworld,wheretechnologyseemstochangefromminuteto
minute.Still,though,therearesomethingsinphotographythatrarely(if
ever) change, and that list includes posing techniques. What flatters the
humanformtodaywillstillworkdecadesfromnow(andoftencalls
on the same principles used hundreds and thousands of years ago
by everyone from Renaissance painters to ancient Greek and What flatters the
Romansculptors).
human form
today
That is not to say, of course, that the same pose will work for
everyone. People come in different shapes and forms, so an indi- will still work decades
vidualizedapproachisrequiredtominimizeeachsubject’sunique
from now . . .
problem areas and to accent their assets. Each has their own per-
sonality, as well, and the pose you use when photographing them
can either emphasize or detract from that. People also have different ob-
jectives and different comfort levels, particularly when creating glamour
images,soit’softenuptothemtodecidehowtheywanttobeportrayed
in their final images. In other cases, such as on a commercial or editorial
glamour assignment, the photographer must help the model convey the
look that the art director or client wants to see. Accomplishing this re-
quiresamodelwhoiscapableofprovidingthedesiredlookandposefor
thescene.
What’s important is to realize that if the photographer understands
thefundamentalsofposing(aswellas,ofcourse,lighting,exposure,etc.),
thenboththemodelandphotographershouldbeabletoachievethein-
tended image. A good photographer must also realize that models can
sometimes have problems gettingthe requiredpose andlook.Whenthis
8POSINGTECHNIQUESFORGLAMOURPHOTOGRAPHY
happens, it’s time to switch hats and work with
thesubjectasbothacoach(givingthemthepsy-
chological boost in confidence they may need)
and instructor (drawing on your knowledge of
posingtoguidetheminaprofessionalmanner).
Forexample,duringthecreationofthisbook
I began working with a new model who lacked
confidence in her posing abilities for the camera.
She’saverygorgeous,vivacious,photogenicper-
sonwithatruemodel’sfigure,butduringseveral
shootsshe’dgrownsofrustratedthatshehadlit-
erallydecidedtogiveuponmodelingcompletely.
I grew somewhat frustrated, too, knowing that
she was loaded with talent. In fact, I’d often let
her model at my workshops and everyone loved
her(nottomentionthatanywherewe’dgo,men
would miraculously become photographers and
wanttoexchangephonenumberswithher).
Then,ononeofourshootswhereshe’dgiven
up, I took a break. I went to the store and pur-
chased a carved wooden mask. When I returned
to the shoot, I walked in with it on my face,
looked at the model, and spoke through it in a
deep, slow voice, saying, “I am the I Can Model
God.” She broke out laughing—and from that
pointonbecamesuchagreatmodelthatshe’sfeaturedmanytimesinthis
Tessneverleavesforaphotoshootwith-
out her lucky “I Can Model God.” Pho- book.She’sevenonthecover!
tographersshouldbelieveintheirmod-
Tessstillcarriesthemaskasagoodluckcharmandareminderthatall
els and help them achieve success by
modelstransitionfromgreentogold—justasallphotographerstransition
giving them something to focus on—
fromluckycharmstogoals. frombeginnerstoprofessionalswhenitcomestodirectingamodel’spos-
ing. Today, Tess poses beautifully for the camera—like a natural. Some-
times all it takes is something for the model to believe in, or someone to
believeinthem.Alittlepositivereinforcementcanreallygoalongway.
Basically, a good photographer needs to display faith and confidence
so it can rub off on their subjects. Anyone can pose, but the path to a
good pose will be a little different for each subject. For photographers,
then, part of posing is knowing how to make it happen. Sometimes it’s
easy,sometimesit’snot.Butdon’tletyourmodeljustgiveup;onlyquit-
tersquit.
FOREWORD9
