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RO L A N D O G O M E Z ’ SPosingTechniques forGLAMOURPHOTOGRAPHYAmherst Media PUBLISHER OF PHOTOGRAPHY BOOKS
Copyright 2009 by Rolando Gomez.All rights reserved.Published by:Amherst Media, Inc.P.O. Box 586Buffalo, N.Y. 14226Fax: 716-874-4508www.AmherstMedia.comPublisher: Craig AlesseSenior Editor/Production Manager: Michelle PerkinsAssistant Editor: Barbara A. Lynch-JohntEditorial Assistance from: John S. Loder, Carey A. Maines, Charles A. SchweizerISBN-13: 978-1-58428-238-9Library of Congress Control Number: 2008926653Printed in Korea.10 9 8 7 6 5 4 3 2 1No part of this publication may be reproduced, stored, or transmitted in any form or by any means, electronic, mechanical, photocopied, recorded or otherwise, without prior written consent from the publisher.Notice of Disclaimer: The information contained in this book is based on the author’s experience and opinions. Theauthor and publisher will not be held liable for the use or misuse of the information in this book.
Table of ContentsPreface . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .6Foreword . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .8Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . .101. Factors That Impact Posing . . . . . . . . . . . . .14Cultural Perceptions . . . . . . . . . . . . . . . . . . . . . .14The Subject’s Experience . . . . . . . . . . . . . . . . . . .16Models . . . . . . . . . . . . . . . . . . . . . . . . . . . . .16Non-Model Subjects . . . . . . . . . . . . . . . . . . .18Gentle Corrections . . . . . . . . . . . . . . . . . . . .20The Model’s Self-Esteem . . . . . . . . . . . . . . . . . . .20The Story to be Told . . . . . . . . . . . . . . . . . . . . . .222. Posing Basics . . . . . . . . . . . . . . . . . . . . . . . . .23The Subject’s Comfort . . . . . . . . . . . . . . . . . . . .23Slimming the Legs . . . . . . . . . . . . . . . . . . . . .39Being Sensitive to the Subject . . . . . . . . . . . . . . .24Lengthening Shorter Legs . . . . . . . . . . . . . . .43Taking an Individualized Approach . . . . . . . . . . .27Bare Legs . . . . . . . . . . . . . . . . . . . . . . . . . . . .43Tall Subjects . . . . . . . . . . . . . . . . . . . . . . . . .27The Feet and Toes . . . . . . . . . . . . . . . . . . . . . . . .43Short Subjects . . . . . . . . . . . . . . . . . . . . . . . .28Direction . . . . . . . . . . . . . . . . . . . . . . . . . . . .43Thin Subjects . . . . . . . . . . . . . . . . . . . . . . . . .29Point the Toes . . . . . . . . . . . . . . . . . . . . . . . .43Heavy Subjects . . . . . . . . . . . . . . . . . . . . . . .29Avoid Distortion . . . . . . . . . . . . . . . . . . . . . .44The Three Main Body Sections . . . . . . . . . . . . . .30Grooming . . . . . . . . . . . . . . . . . . . . . . . . . . .44Keep an Eye on the Clothing . . . . . . . . . . . . .443. The Hips, Legs, and Feet . . . . . . . . . . . . . . . .33From the Waist Down . . . . . . . . . . . . . . . . . . . . .334. The Torso, Arms, and Hands . . . . . . . . . . . .45The Waist and Hips . . . . . . . . . . . . . . . . . . . . . . .33The Torso . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45The Buttocks and Upper Thighs . . . . . . . . . . . . .33Abdominal Areas . . . . . . . . . . . . . . . . . . . . . . . . .45The Lower Thighs and Calves . . . . . . . . . . . . . . .37Creases . . . . . . . . . . . . . . . . . . . . . . . . . . . . .45One Support Leg, One Accent Leg . . . . . . . .37A Belly or a Six-Pack . . . . . . . . . . . . . . . . . . .45Bend It . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39The Navel . . . . . . . . . . . . . . . . . . . . . . . . . . .46TABLE OF CONTENTS 3
Clothing Marks . . . . . . . . . . . . . . . . . . . . . . .47Hands on Hips . . . . . . . . . . . . . . . . . . . . . . .56The Bust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .47Hands to Conceal . . . . . . . . . . . . . . . . . . . . .57Accenting Size and Shape . . . . . . . . . . . . . . . .47Fingernails . . . . . . . . . . . . . . . . . . . . . . . . . . .59Uneven Breasts . . . . . . . . . . . . . . . . . . . . . . .47Natural Breasts . . . . . . . . . . . . . . . . . . . . . . .485. The Neck, Head, and Face . . . . . . . . . . . . . . .60Augmented Breasts . . . . . . . . . . . . . . . . . . . .48The Neck . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .60Other Concerns . . . . . . . . . . . . . . . . . . . . . . .49The Ears . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61The Shoulders . . . . . . . . . . . . . . . . . . . . . . . . . . .49The Hair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61The Collarbones . . . . . . . . . . . . . . . . . . . . . . . . .50The Nose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63The Arms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52Don’t Break the Line of the Cheek . . . . . . . .63Bend the Elbows . . . . . . . . . . . . . . . . . . . . . .52Nose Size . . . . . . . . . . . . . . . . . . . . . . . . . . . .63Separate the Arms from the Torso . . . . . . . . .52The Nostrils . . . . . . . . . . . . . . . . . . . . . . . . . .64Slimming the Upper Arms . . . . . . . . . . . . . . .52The Lips . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64Using the Arms to Hide Problem Areas . . . . .52Set a Relaxed Mood . . . . . . . . . . . . . . . . . . . .64Framing the Face . . . . . . . . . . . . . . . . . . . . . .53Encourage Variations . . . . . . . . . . . . . . . . . . .64The Hands . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55The Perfect Smile . . . . . . . . . . . . . . . . . . . . . .64Side View . . . . . . . . . . . . . . . . . . . . . . . . . . . .55Lipstick . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66Hands with Props . . . . . . . . . . . . . . . . . . . . .55The Teeth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66Jewelry . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56The Eyes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .67Avoid Canoeing . . . . . . . . . . . . . . . . . . . . . . .67Direction of the Eyes . . . . . . . . . . . . . . . . . . .67Uneven Eyes . . . . . . . . . . . . . . . . . . . . . . . . .68One Eye or Two . . . . . . . . . . . . . . . . . . . . . .68Catchlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68Makeup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .686. Sit, Stand, or Lie Down . . . . . . . . . . . . . . . . .70Sit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70Hiding the Stomach Area . . . . . . . . . . . . . . . .70Posing on Beds . . . . . . . . . . . . . . . . . . . . . . .72The “Page Three” Pose . . . . . . . . . . . . . . . . .72To Accent the Legs . . . . . . . . . . . . . . . . . . . .72Stand . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .72Look for S Curves . . . . . . . . . . . . . . . . . . . . .74Raise a Foot . . . . . . . . . . . . . . . . . . . . . . . . . .75Rear Views . . . . . . . . . . . . . . . . . . . . . . . . . . .75Lie Down . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77Try Different Settings . . . . . . . . . . . . . . . . . .77The Breasts . . . . . . . . . . . . . . . . . . . . . . . . . .77On Hands and Knees . . . . . . . . . . . . . . . . . . .77Watch the Lines . . . . . . . . . . . . . . . . . . . . . . .78
7. Composition . . . . . . . . . . . . . . . . . . . . . . . . .80Lines . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80Implied Lines . . . . . . . . . . . . . . . . . . . . . . . . .80Imaginary Lines . . . . . . . . . . . . . . . . . . . . . . .80Inherent Lines . . . . . . . . . . . . . . . . . . . . . . . .81Diagonal Lines . . . . . . . . . . . . . . . . . . . . . . . .81Leading Lines . . . . . . . . . . . . . . . . . . . . . . . .83The Camera Contrived . . . . . . . . . . . . . . . . . . . .83Framing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .84Move In, Move Out . . . . . . . . . . . . . . . . . . . .84Get Creative . . . . . . . . . . . . . . . . . . . . . . . . .84Switch Lenses . . . . . . . . . . . . . . . . . . . . . . . .87Direction of the Pose . . . . . . . . . . . . . . . . . . . . . .88Natural Direction . . . . . . . . . . . . . . . . . . . . . .88Cropping . . . . . . . . . . . . . . . . . . . . . . . . . . . .88Action and Motion . . . . . . . . . . . . . . . . . . . . . . .908. Communication and Art Direction . . . . . . . .93Rapport Starts with Your First Communication . .93What to Say (And What Not to Say) . . . . . . . . . .95Be Observant and React to What You Learn . . . .95On the Phone or Via E-Mail . . . . . . . . . . . . . . . .97Helpful Details . . . . . . . . . . . . . . . . . . . . . . . .98Vague Communications . . . . . . . . . . . . . . . .101Working with Models . . . . . . . . . . . . . . . . . . . .102Larger Noses . . . . . . . . . . . . . . . . . . . . . . . .119Art Direction . . . . . . . . . . . . . . . . . . . . . . . . . . .103Disproportionate Height and Weight . . . . . .119The Bottom Line . . . . . . . . . . . . . . . . . . . . . . .105Visible Hair Roots or Extensions . . . . . . . . .119Poorly Groomed Nails . . . . . . . . . . . . . . . . .1199. How Do I Get That Pose? . . . . . . . . . . . . . . .106Tan Lines . . . . . . . . . . . . . . . . . . . . . . . . . . .121The Headshot . . . . . . . . . . . . . . . . . . . . . . . . . .106Discolored or Crooked Teeth . . . . . . . . . . . .122The Bust-Up Pose . . . . . . . . . . . . . . . . . . . . . . .109Thin or Uneven Lips . . . . . . . . . . . . . . . . . .122The Three-Quarter Pose . . . . . . . . . . . . . . . . . .111Dark or Small Eyes . . . . . . . . . . . . . . . . . . . .122The Full-Length Pose . . . . . . . . . . . . . . . . . . . .111Round or Square Faces . . . . . . . . . . . . . . . .122The Backside Pose . . . . . . . . . . . . . . . . . . . . . . .112The Traditional Page-Three Pose . . . . . . . . . . . .115Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . .123The Implied Nude Pose . . . . . . . . . . . . . . . . . . .115Commercial and Informational Web Sites . . . . .123My Sponsors and Supporters . . . . . . . . . . . . . . .12310. What to Look For, What to Avoid . . . . . . .117Ten Qualities of the Ideal Glamour Model . . . . .117Conclusion . . . . . . . . . . . . . . . . . . . . . . . . . . . .124Correcting What’s Less Than Ideal . . . . . . . . . .119Lack of Muscle Tone . . . . . . . . . . . . . . . . . .119Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125TABLE OF CONTENTS 5
PrefaceIn my first two books for Amherst Media, the preface started out with,“Creating a book is sometimes fun, sometimes hard, sometimes sad—and sometimes you just want to quit.” Well that sentiment rings true forthis 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 tomention, writing is like photography or even writing a song; it’s an art, andall artists work better when motivation strikes them.I’ve always provided “thanks” to my family and friends in my books,that hasn’t changed either. I’ve also always asked people not to forget themen and women in uniform, along with their families and friends. This request to keep them in your prayers hasn’t changed either. If you see a military veteran, please thank them for their service; without them, thesebooks would not be possible. Writers rely on freedom of speech and freedom of the press, and sometimes it takes a military to keep that going.Everyone, please come home safe!As I write this preface, which is more of a dedication page, I wonderedwho I should dedicate this book to (while my previous books have theabove-noted similarities in the preface, they later break out to identify specific people who made unique contributions to each book). As I thoughtand thought, my mind drifted. Do I thank my “best” friends? The answercame back no; I’d surely offend someone who thought they were my bestfriend. Do I thank my colleagues? Nope. This is an egotistical profession;many take your thanks and then turn their backs (of course, there are truefriends, like my mentor Robert Farber and advisor Jesse Gámez). Like life,photographic success is based on relationships that grow and change overtime. Some go sour, some succeed and turn sweetly ripe.When I chose to write this book, knowing the long hours I’d haveto put in it, I didn’t do it because someone promised me a golden egg. Ididn’t do it because my mother told me to (in fact, she is not a fan of6 POSING TECHNIQUES FOR GLAMOUR PHOTOGRAPHYFinally, someone captures a great imageof me. I hate having my photo taken!
glamour photography). Nor did I do it because my father told me to (although he enjoys the photos more than my mom does). I decided to writethis book because I felt bound to share my knowledge with all my friends,those I know personally and those I may never meet but who share mypassion for photography.This book is also very personal—like a friend to me. Both of my lasttwo books featured some images from photographer friends of mine. Thisbook, on the other hand, is 100 percent my photography (with the exception of the author photo).Photography is my dearest friend. It keeps my heart going and my lifeinteresting. I hope it’s one friend I’ll never lose, because then I know I’llbe resting in a better place (even if my mom doesn’t always think so). GodBless, and keep our veterans and their families in your prayers!I go into every shoot with a concept in mind, but I also keep my mind open to other ideas. While photographing Cherie, I likedºher playful pose, so I turned it into a more dramatic image by cropping it to create more of an abstract form. I also changed toa single, highly directional light source. (Camera: Olympus E-1; Lens: Olympus Zuiko 50mm lens, effective focal length 100mm;ISO: 100; Shutter speed: 1/125 second; Aperture: f/6.3; Lighting
There might be a few great poses, usually because the model being photographed knew what she was doing, but ultimately you’re given no clear directions. Additionally, few of those guides and flashcards incorporate the scene (foreground and/or background) or Introduction Thereareinfinite possibilitieswhenit comestoposingamodel foraglamour,beauty, ornudeimage .
