Posing Techniques for Glamour Photography

light across the breasts to create chiaroscuro. This works especially well

when shooting a nude or when a model is revealing cleavage. This is also

a great way to create cleavage and give the model a more curvy appearance

if she’s small breasted.

The Three-Quarter Pose.

The three-quarter pose, which normally shows the model down to mid-

thigh, is common in both fashion and glamour photography. It’s impor-

tant to note that the model doesn’t have to be standing in this pose; she

can also be in any number of reclining poses.

The key here is to position the legs exactly as you would for a full-

length pose; never assume you’re only going to shoot a three-quarter shot.

Just pose the model normally, then move in to capture the model in the

desired view. Remember to crop above the knee; otherwise you’ll create

an amputated look. (Note:Traditionally the entire length of the arm,

hands, and fingers are included in this pose. If you do not include the en-

tire arm, however, be sure to crop above the elbow.)

There are few things to consider when posing and composing this kind

of image. First, if the model is lying down on her side, don’t have her lift

her top knee and place her foot on or near the lower calf; you’ll

wind up with a properly cropped bottom leg and the top thigh

pointing up into the air—almost like a sideways V. Second, don’t

place the legs together and use this crop. Instead, have one leg

back and one more forward—just as you would in a full-length

pose. This type of crop works best when the model is standing with

her legs and torso at an angle to the camera with her neck and head

turned more toward the camera.

The Full-Length Pose.

The full-length pose is what the name implies, photographing your

model’s entire body, from the feet to the top of the head (while leaving

some room at the bottom and the top of the photo to give the image a

proper sense of balance). Included in this category are standing images, sit-

ting images, and reclining images. This is a type of pose that is often

avoided by purist portraitists because including the body can make it

harder to keep the focus of the image on the face. If you follow the in-

structions laid out in chapters 3, 4, and 5 of this book, however, you’ll do

just fine.

By including the subject’s entire body, you give yourself almost infinite

possibilities, so don’t be afraid to have your model move around and ex-

periment. If the model is standing, try turning her legs and torso slightly

This is alsoa great way

to give the model a more

curvy appearance...

HOWDOIGETTHATPOSE?111