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Posing Guidance for Her

Lesson 3 from: FAST CLASS: Incredible Engagement Photography

Pye Jirsa

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Lesson Info

3. Posing Guidance for Her

Next Lesson: Foundational Posing

Lesson Info

Posing Guidance for Her

so guidance for her there certain things they're gonna be similar. There's certain things going to be different and by the way, with systems and frameworks, these air rules So you guys can understand the principles you these air rules. So you guys understand the house and the wise their rules for you guys to also break. I want you to remember that, but that rules are meant to be broken. It just you need to understand when to break them and when it looks okay to break them and we'll get there. So generally with the feet. What's funny? Is you kind of already doing it a little? By the way, there was one thing I forgot to mention your the way you're standing right now, do it again. Okay, Why don't you do that? Put your weight on one side. This is Ah, this is Italian. It's called Contra pasta. This is like the only thing I remember from my high school art class was this post. I don't know why you showed me like a statue of David. He's like contra pasta like that's the best word ever, and I ...

remember that's like the one thing I remember. Okay, so contrast a is your weight on one leg? Italian word for your weight on one leg. It's generally this is a great post for guys and girls. Guys congee away, standing flatfooted. Okay, It's not a big deal if a guy is standing flatfooted, but it looks more relaxed. Toe have the weight shifted to one side or the other side. So that's great. Now for the ladies. Well, what we're gonna do is we're start from the feet and, General, we're gonna do with a more narrow stance and the reason why I want your legs to actually come together at the base. And what we're gonna do with the knees is we're in a kind of drop a toe so you can drop a tow back. You can cross it over, you can go in the front, you can bend the knee across. Every one of these is totally perfect. But what we're trying to do is we're trying to create the hourglass effect with girls that our goal is different than with guys right guys, we want to make them look bulky. We want to bring out, you know, a guys the ultimate shape that a guy is achieving to get you guys know what it is? Yeah, some was a triangle. It's the trap is a little triangle right now. I'm not there yet, but that's what we're going for. So we want our shoulders to drop in to the waist and create this, like, trapezoid triangle type Shape up here with girls. What is the shape that we're going for? Hourglass. Okay, so what we do is as soon as I do this watch, I could take my masculinity. That's not very masculine Me doing this, OK, but I can do this. And then as soon as I go, right, So what happens is if you look, we can see a slimming point, right or need. So what we want to do is bring any like, and I bring this knee forward and across the front There you go. So we create an open hip, a slimming point, and if they have a dress on what you get is, you get a little pulling the dress across the front and so you can actually see the shape of her leg. And it creates a beautiful look and so forth. So with that What were you typically do is if you're if you're hugging onto Travis, So why don't you face each other and hug? You're going to drop a toe, so leave one toe, kind of back. Exactly. So we kind of always do something with the feet just so that she's not flat footed. She always has a hip kind of kick to the side. Come out of that. I know you guys are perfect together and love doing that, but we'll have plenty of time for it, so don't worry. Okay? So with the knees closed, the hip is kicked and generally with you're gonna have a side that you're more comfortable kicking towards. Right? Usually most girls have a side. This is not my This is my side. This is like this feels weird, right? Do you have a You have your side okay. Which is you're saying Good. Let's get by the way. If you if she doesn't know, you can actually have him do that. Say, let me let me see you kick it to both sides. And what you generally see is that because of our muscles and the way that we do this one side will kick further than the other. So one side is actually more limber and loose, and so you'll see a greater curve when you kick to the side that they actually go to. So when I kicked it this side, I can actually push my hip out much further than when I go to this side. It's creepy that I kick to the side that much, that I could get more curve. Well, let's just move on. So all right, so that's that's why. So you can actually look at them straight on and be like, OK, yeah, let me do it and then you see OK, Perfect. I want you to kick to the left side. I want you to do that from here on out by identifying okay with a guy with his arms, we kind of just talked about like, hands in the pockets. That's cool. It's great. We don't need to worry too much, you know, if we can't see through here and by the way, already did the whole I'm kind of touchy feely thing. I always start that off before, whenever I walk over to a client before I make contact with them, I say, Hey, I'm kind of touchy feely. I kind of like to put us imposes. Is that okay on? And then usually the guys like, Yeah, go for it. I'm like, that's weird that you're so cool of me doing that. But, yeah, let me start with you, and I'll like, kind of make it into a joke and stuff, and we kind of start do nothing, but I always ask permission before So you don't have permission to kind of OK with, you know, do I have You're good. You're good. Okay. So what we're gonna talk about is number six is straight arm space. So with a guy that can hang their hands down beside but with a girl, If we put your hands right the side, if you put your hands down the side, it makes it look like your chest goes from here to here. And what we need to do is create space now supermodels, you know, it's a models. Can you do it? So I don't feel so silly. So they do this right? Granted, this works. It's done a lot because it works fantastically well. It's just for an engagement pose for engaging photographer couples. It's a little bit on the fashiony side and also, I feel like a little bit on the over the top. Maybe a little bit overdone side. So I try and make it a little more subtle. All we need is space to put our hands through. Okay, So if you imagine, let your arms drop to your side and then just we're gonna do is let the hands hit the thigh and drop a little bit as long as I can put space between the hand and the side. As long as we can see through those gaps, then we're good. That's all you need. Which means if she wants to just let a hand relax. All you do is you have a relaxed the hand and draw it up a little bit. And then it'll look really nice and simple, Okay. And then, Ah, the other thing is, you have kind of a loose, bohemian kind of top on right now. So what we're gonna probably do is we're gonna do a clothing pin. So if for later, when we start shooting, um, do you guys know that clothing pins are called C is that not the weirdest thing in the world. I say this because they're in production to so a clothing pin. It's called a C 47 on set. Give me seem C 40 sevens and a deviate and in R two d two. And, uh, the story is back in the day, some guy was making these clothing pins and they were trying to sell into like Hollywood sets and, like it would calm clothing pains. They're worth, like 10 cents. Let's call him C 40 sevens. They're much more advanced, but it's just a wooden clothing pin, and now it's called C tangents. I'm a big guy on tangents. Just so you guys know, all right, so with our hands generally again, when we're not posing the hands, it's the same rules we need to give a purpose, A reason to the hands, if not leaving that rest. One thing that we didn't talk about yet, which we will I think get to. If not, we'll mention it, Um and then neck is extended out slightly, just the same as the guys, and then the walking thing is gonna be a little bit different. So normally, like guys and gals, we walk like this, right? This makes kind of sense. It feels comfortable. I teach my girls how to walk. He'll over toe with the toe pointed back. Okay, so what we're gonna have you, dio is you're gonna take a step, always let your hips kick on the step, and then you're gonna cross the hell over the toe points back to where it came from, okay? And crossover toe points back. You see what it's doing to our hips? He's doing it better. Let's try it again. Was getting Please don't say online that I'm doing it better than wreck my confidence for the entire day. Okay, so what that does is hopefully What if you do that again and just focus on her hips? You can see the hips shift from side to side. So in a walk, whenever you are taking shots right when you fire that shot during a walking scene, you're freezing them for that moment. Correct. So what we want to do is we want to freeze them when the legs are crossed over and the hip is kicked. And if you do this walk, then almost every capture, the knees, air going over and the legs are crossed over and you're good. If you don't do the walk, then what happens is you get a bunch of shots where the legs are open and apart on the girls side and it looks masculine. By the way. That's not a bad thing. It's not a bad thing to make your girls look masculine. If that's the purpose of your shoot, like they'll do fashion shoots all the time where they do a stance like this, right? Like crazy, like legs like open like that. If that power stance, I just like doing this, it's like a lot of fun. Okay, so that's just not the purpose of what we're trying to do with engagement photos.

Class Materials

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Presets Installation Guide
Slides for Lessons 1-30
Slides for Lessons 31-51
Favorite Software
Lightroom Presets
Pre-Shoot Videos

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