Col­umn: Al­bert Pedrosa re­veals se­crets on ask­ing mod­els how to pose

Sun.Star Cebu Weekend - - Content -

The dreaded ques­tion. In all my sem­i­nar work­shops all around the coun­try, there’s al­ways one par­tic­i­pant that would ask me how to pose a model. I know some­body will ask it at some point and it is just a mat­ter of time that some­body will have the courage to ask. When the ques­tion is fi­nally asked, I’m like a light bulb look­ing con­fi­dent ac­knowl­edg­ing the ques­tion.

I would al­most al­ways start by say­ing that I to­tally un­der­stand where you’re com­ing from be­cause I re­ally do. I know the feel­ing and the pres­sure when the model would fi­nally raise the ques­tion and ask what will be her pos­ing. It’s the feel­ing you get when you’re tak­ing the fi­nals exam at school and you have no idea how to an­swer it.

The truth is it shouldn’t be a prob­lem in the first place if you planned for it. The so­lu­tion to the prob­lem is to in­clude pos­ing in your pre- shoot plan­ning. It is com­mon to prepare ahead the lo­ca­tion of the shoot, out­fits to wear, props and the con­cepts. Why not in­clude the poses of the model?

When I was start­ing up, aside from the mood board that I prepare for the con­cept, I also look for pos­si­ble poses for the model that can jive with the con­cept. The poses are de­tailed to the hand po­si­tion, body an­gle, leg po­si­tion and more to match the fix­tures and light­ing de­sign in the set. I prepare many op­tions that we can try dur­ing the shoot.

Not all mod­els can do a par­tic­u­lar pose. They have their way with their head and body that works well with a par­tic­u­lar pose. Just like pho­tog­ra­phers or de­sign­ers, they haver their spe­cialty and par­tic­u­lar poses that work for them. That why you should look at the model’s port­fo­lio before the shoot so you’ll

know what would work best.

Dur­ing the ac­tual shoot, you can al­ways start with one of your pre-planned poses, but you should al­low the model to add to it. Too much di­rec­tion will re­sult to harder forms and dis­cour­ages the model to sug­gest and par­tic­i­pate in the shoot. You can also use your pre­planned poses when your model is dy­ing in the set. By dy­ing, I mean, los­ing the en­ergy in the set.

As much as you can, don’t show the model a pic­ture from your phone as ref­er­ence pos­ing. First, is you’ll look like an am­a­teur, which takes away some of the re­spect and pride as a pho­tog­ra­pher. Sec­ond is your model’s move­ment will be me­chan­i­cal be­cause he or she will try to fol­low it to the de­tail, which throws away her take on the con­cept.

As you keep on shoot­ing mod­els, you’ll even­tu­ally reach the level where you can see the poses on the fly. Be­ing able to de­velop with poses in an in­stant helps a lot when it comes to com­mer­cial shoot­ing. In com­mer­cial shoot, time is lim­ited and the client or art direc­tor might not agree with your planned poses, so you should find an­other pos­ing in a flash.

The pho­tog­ra­pher and the model should es­tab­lish a con­nec­tion for them to work in har­mony. It’s a two-way con­nec­tion, so you must also take in her thoughts and share a mo­ment of cre­ativ­ity. Keep on shoot­ing, every­one!

In this shot, I gave the model a few sug­ges­tions for the pose, which she then turned into her own take of the con­cept. Aliya is one of the few mod­els I know who can throw you stun­ning poses all day. (Aliya of Women's Fo­lio)

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