From a themed series, called “One Light, One Chair,”
Tiffany’s pose is accentuated by the dramatic lighting
of a Hensel Integra Pro Plus 500 monolight fitted with
a 7-inch reflector and a 20-degree grid. This type of
dramatic lighting lends itself well to her smooth com-
plexion. The posing of the legs in a more provocative
fashion require the legs to have a reason or a natural
resting area. In this case, the right leg rests on the
mirror while the left leg sits on the steering wheel.
Notice the hand also holds onto a lever of the forklift
while the other hand rests comfortably under her
chin. (Camera:Leica R-9 with the Leica Digital Back
DMR;Lens: effective 137mm;ISO:100;Shutter
speed:^1 / 125 second;Aperture:f/4;White balance:
6000K)
In this image, also from my “One-Light, One-Chair” series, Dee stood on
the chair while bracing herself against a white wall that was illuminated
by the evening sun. This image was photographed after my Interna-
tional Glamour, Beauty and the Nude workshop in Toronto had ended.
I often go to workshops, photo assignments, and even self-promotional
shoots with one specific purpose, but I constantly glance around and
ask myself whether there is an additional opportunity to shoot some-
thing for one of the various “themes” I’m constantly working on. Every
photographer should make a list of “working portfolio goals”—ideal
themes they’d like to accomplish. Then, when shooting, open your
mind to all the possibilities. When a model is in makeup, look around.
In this case, I found a chair and noticed the distinct shapes formed by
the window light. That was the starting point for designing poses to fit
the theme and the location. (Camera:Olympus E-1;Lens:effective focal
length at 100mm;ISO:100;Shutter speed:^1 / 125 second;Aperture:
f/3.5;White balance:6000K)12POSINGTECHNIQUESFORGLAMOURPHOTOGRAPHY
of the pose is about the subject—what she wants to portray to the in-
tended audience and what makes her look her very best.
Posing is also psychology. All poses communicate with the viewer via
body language, and if the body language looks “out of whack” the image
will not be successful. Even if the shot is beautifully lit and properly ex-