I also try to cast a shadow on
this area. By producing a natural
shadow from the middle of the
thigh down, running from the
upper hip to the knee and back to
the backside of the thigh, I can slim
the look of the thighs and subdue
the hand, which will be entirely vis-
ible in this particular pose.
Fingernails.Often, while fo-
cusing on the placement and light-
ing of the hands, we forget one
major aspect: the fingernails. They
should be trimmed and manicured;
long or medium-length nails work
best in images. Think of the finger-
nails as an extension of the fashion
the model is presenting. If you
were creating a commercial prod-
uct shoot for nail polish, then you
would make the nails contrast with
the dominant colors in the clothes,
making them stand out. In glamour
photography, on the other hand,
it’s about the subject, not the prod-
uct. Therefore, the nails should be
painted with a color found in the
model’s outfit. They should be sub-
tle, not obvious.
If you have an opportunity to
do a test session with your subject,
this is a good time to take a look at
her hands. If you notice your
model has her nails trimmed too
short, you can advise her to have
acrylic nails professionally done. In
the worst case scenario, you can
have her wear press-on nails—or
“lick and sticks,” as they are known in the industry. I’d rather stop a shoot
and get it right later than finish a shoot with great poses but poor finger-
nails. Your final images are only as strong as the weakest elements in them.
ABOVE AND FACING PAGE—Playboy Playmate Monica Leigh was outfitted in three differ-
ent dresses during a photo shoot for use in an upcoming Evan Williams liquor cam-
paign. The art director, Keith Rios, wanted choices for the client and realized that
the clothes can also make or break a pose. As the shoot evolved, we also added
“keys” in Monica’s hand to help illustrate the story of an elegant, beautiful woman
headed out for the evening. Clothes and accessories, like the keys, necklaces, and
purse, often add to the intent of the pose, as in this case. Also contributing to the
story are the background curtains and table. (Camera:Canon 5D;Lens:Canon
70–200mm f/2.8L IS, USM lens, effective focal length at 95mm;Lighting:nine Hensel
Integra 500 Pro Plus monolights;White balance:6000K)58POSINGTECHNIQUESFORGLAMOURPHOTOGRAPHY