Portrait Posing Tips to Eliminate Those Stiff and Unnatural-Looking Subjects

If you’re going to take some portraits, whether for fun or for a few bucks (or even if you’re a seasoned pro), you want your subjects posed in a way that seems relaxed and natural. But how can you plan to get a pose, that, well, doesn’t look planned?

One answer is don’t think too hard. If you want your subjects to look relaxed make sure they’re relaxed! Talk to them and establish a rapport. Don’t be a perpetual chatterbox but don’t ever go completely silent either. Your subject may think your silence means they’re doing something wrong or that they don’t look good on camera. By the same token don’t frown or mutter if you have a little technical glitch like a temporary camera lock or a loose sync cord because your subject will assume they’re the problem. And unless you’re asked, don’t explain why you’re putting a light in a certain spot or changing camera angles because you don’t want your subject thinking about the mechanics of photography, you only want them interacting with you as if you’re having lunch or chatting on a street corner.

Avoid a ’starting line’ mentality for the portrait session. I’ve seen photographers establish a great connection with a subject and then announce something like “Okay, now we start taking pictures!” and of course as soon as they do this the subject freezes up and ‘poses’. You will have to start taking images eventually but try to make the transition seamless, without fanfare or even a pause. A great moment to capture an unguarded expression is in the very short moment just before someone thinks you’re about to take the ‘real portrait’. Jumping the gun by even a fraction of a second this way can help you grab some real gems.

Try to think a little bit like a movie director. Great ones like Clint Eastwood grab very few takes of a scene believing that the first ones will be the freshest. Be prepared to get your best pose or expression right off the bat. Try not to overshoot. If it does take a little (or at lot) longer to pull out that one keeper be ready for that too. Keep engaging your subject. If you’re genuinely funny and can make people laugh that’s great. Just make sure you keep holding your camera up! Don’t lower it and miss that priceless smile. It takes a little getting used to but try keeping the eye that’s not in the viewfinder open so you can maintain eye contact with the person you’re shooting.

Lastly, the reality is that sometimes your shot will require a very specific pose, perhaps because of the use of props or because you’re trying to disguise the build of someone who carries a few extra pounds. When you’re in this situation describe as clearly as possible what you need or better yet demonstrate the pose yourself so your subject can duplicate it in their one way. No matter what make sure you don’t actually reach out to bend and move your subject like they’re a rubber doll. This is not only potentially unprofessional it’s going to absolutely ensure your subject will be stiff and uncomfortable as they concentrate on maintaining the muscle position you’ve decreed is the correct one. When I was a kid various school photographers used to physically angle my chin to match their lighting schemes and in all of those shots I look as uncomfortable as can be. Please don’t ever make your subjects look like I did!

Robert Rafton first displayed a love of photography at the age of five when he completely destroyed his parents’ original Voigtlander camera. Since then he has gone on to graduate from the American Film Institute in Los Angeles and worked in the motion picture industry in various capacities. He currently runs a photography business in Toronto, specializing in location portraiture, bands, concerts and events. His work can be seen at Robert Rafton.com and also at Toronto portrait his local portrait blog.