Picture perfect posing practicing the art of posing for photographers and models roberto valenzuela

PICTUREPERFECTPOSING
PracticingtheArtofPosingforPhotographersandModels
ROBERTOVALENZUELA


PicturePerfectPosing:PracticingtheArtofPosingforPhotographers
andModels
RobertoValenzuela

NewRiders
FindusontheWebatwww.newriders.com
Toreporterrors,pleasesendanoteto
NewRidersisanimprintofPeachpit,adivisionofPearsonEducation
Copyright©2014byRobertoValenzuela
Allphotography©RobertoValenzuelaexceptwherenoted
Editors:ChristinaLeungandTedWaitt
SeniorProductionEditor:LisaBrazieal
CoverandInteriorDesign:MimiHeft
DevelopmentalEditor:NolanHester
Copyeditor:LizWelch
Compositor:WolfsonDesign
Indexer:JamesMinkin

AbouttheCoverPhoto
Model:KristenDalton(MissUSA2009)
PhotoShootLocation:MogulLosAngeles
MakeUp,Hair,andNails:FioreBeauty
Dress:AlexanderMcQueen
Stylist:LauraHine
Camera:HasselbladH5D

PhotoEditor:RoccoAncora
Photographer:RobertoValenzuela

NoticeofRights
Allrightsreserved.Nopartofthisbookmaybereproducedortransmittedinanyformby
anymeans,electronic,mechanical,photocopying,recording,orotherwise,withoutthe
priorwrittenpermissionofthepublisher.Forinformationongettingpermissionreprints
andexcerpts,contact

NoticeofLiability
Theinformationinthisbookisdistributedonan“AsIs”basiswithoutwarranty.While
everyprecautionhasbeentakeninthepreparationofthebook,neithertheauthornor
Peachpitshallhaveanyliabilitytoanypersonorentitywithrespecttoanylossordamage
causedorallegedtobecauseddirectlyorindirectlybytheinstructionscontainedinthis
bookorbythecomputersoftwareandhardwareproductsdescribedinit.

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ISBN-13978-0-321-96646-9
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Iwanttodedicatethisbooktomymom.Tomeyouarethemostamazingand
inspiring
womaninmylife.IthankGodeverydayforgivingmeamotherlikeyou.
TomywifeKim—mylifepartnerandmybestfriend.IamwhoIamthanksto
your
unconditionallove.Youmakemewanttobeabetterperson.IknowIamnoteasy,
butyou
lovemeandacceptmejustthewayIam.Regardlessofwhereweareintheworld,
italwaysfeelslikehomewhenwearetogether.Iloveyou!
ToourdogChochos.YouhavebeenaroundmylifebeforeIwasevena
photographer.
Youhaveblessedourfamilywithyourcompanyandlovewhenweneededitthe
most.
Youhaveenrichedourlives,Chochos.Weloveyouandwillalwayscarryyouin
ourhearts.


Acknowledgments
Thisbookwasacolossalamountofwork.ButIcouldn’thavedoneitalone.Theteamat
Peachpitissecondtonone!Ithankyouformakingmybookpossibleandformakingit
lookbeautiful.Honestly,IcouldnotaskforabetteracquisitionseditorthanTedWaitt.It
isTedwhoinitiallybelievedinmeandgavemeachancetowritemyfirstbook,Picture
PerfectPractice.Forthis,Iwillalwaysbegratefultohim.Ifyoudon’tknowTed,you
should.Heisagoodman.ManythanksalsogotoPeachpit’sMimiHeft,LisaBrazieal,
andNolanHesterfortheirgreatworkonthebook.
Ialsowanttothankmyfamilyfortheirsupportthroughoutthisproject.Aspecialshoutoutgoestomymother-in-lawChristina.Shewasthefirsteditorforthisbook,aswellas
formyfirstbook.Theamountofworkittakestofixallmygrammarmishapsis
monumental.Trustme,thereasonthisbookreadssobeautifullyisbecauseofherskill,the

countlesshoursshespentfixingmyerrorsand,mostimportantly,herlovefortheEnglish
language.Christina,Iloveyouverymuchandthisbookwouldnotbethesamewithout
you.Ialsowanttothankmywholefamily.MyamazingwifeKim,forlovingme,caring
forme,andsupportingmeeverydaythroughthegoodandbadthroughoutournearly10
yearsofmarriage.TomybeautifulMutti,forbeingthegreatestgiftGodblessedmewith.
TomybrotherTono,mysistersBlancaandSusy,mybrother-in-lawKent,myfather-inlawPeter,mysisters-in-lawAmyandSarah,mycutie-pienieceAlexandra,mynew
brother-in-lawNeal,myawesomenephewsEthanandCaleb,andmysuperflexibleand
talentednieceElliana.AspecialthankstomycousinWendyforalwaysbelievinginme.
TomyamazingbestfriendsJerryandMelissaGhionis,foralwayspushingmetogo
furtherandthinkharder.Ithankyouforhelpingmereachmypotentialandforbeing
unconditionalfriendstoKimandme.Thememoriesofthosecrazynightswespend
talking,laughing,andsingingoverredwinewillliveinmyheartforever.Iloveyouboth
verymuch!
IalsowanttosendahugethankstoArleneEvans,whobelievedinmefromtheverystart
andlaunchedmycareerwhenIwascompletelyunknown.Thankyou,Arlene,foryour
friendshipandthetrustyouendowedmewithinthisindustry.
TomyadoptedfatherDavidEdmonson,thankyouforbeingafatherfiguretome.Ihave
somuchloveandrespectforyouandyourwholefamily.Icouldnothaveaskedfora
moremeaningfulpersontowritetheforewordtothisbook.Iconsidermyrelationship
withyouablessingandagiftfromGod.
AspecialthankstomyfriendsLauraHineandRobiatBalogun,forstyling,organizing,
andmakingbeautifulthemodelsforthisbookwithamazinghairandmake-up.Youladies
wereabigpartofthisbookprojectandIamforevergratefulforyouvolunteeringyour
timeandskillstomakethisabetter-lookingbook.IwanttosendaspecialthankstoRocco
Ancoraforapplyinghisseriouslyworld-classeditingskillstothephotoonthecoverof
thisbook.Rocco,Iamhonoredtohaveapieceofyourenormoustalentinthemostvisible
partofthebook.Thankyou,myfriend.
Ialsowanttothankindustryorganizationsandmyfriendswhohelprunthem,suchas
WeddingandPortraitPhotographersInternational(WPPI),theProfessionalPhotographers

ofAmerica(PPA),PhotoPlus,JunebugWeddings,creativeLIVE,andHasselbladfor
continuingtoprovidephotographersworldwidewithanopportunitytolearnandpushthe
artisticenvelopewiththeartofphotography.
Lastly,Iwanttosendasincerethank-youtoallmyreadersworldwide.Thankyouso
muchforyoursupport.Ihopeyourphotographycareersforeverprosper!Rememberthat
learningneverendsandskillisnothingbuttheresultofdeliberatepractice.


AbouttheAuthor

RobertoValenzuelaisaphotographerbasedinBeverlyHills,CA.Hedevelopedhis
uniqueteachingstylebyfollowingthesamepracticeregimenhedevelopedasa
professionalconcertclassicalguitaristandeducator.Robertobelievesthatitisnottalent
butdeliberatepracticethatisatthecoreofskillandachievement.Hehastraveledtoevery
corneroftheworld,motivatingphotographerstopracticeandbreakdownthevarious
elementsofphotographyinordertomasterthemthroughgoalsetting,self-training,and
constantdedication.
RobertoservesasajudgeforphotographicprintcompetitionsinEurope,Mexico,South
America,andthemostprestigiousinternationalphotographycompetitionsheldinthe
UnitedStatesthroughWeddingandPortraitPhotographersInternational(WPPI)inLas
Vegas,NV.
Robertoteachesprivateworkshops,seminars,andplatformclassesatthelargest
photographyconventionsintheworld.Hehasbeenaninternationalfirst-placewinner
threetimesandhasbeennominatedbyhispeersasoneofthetenmostinfluential
photographersandeducatorsintheworld.Hisfirstbook,PicturePerfectPractice,became
abestsellingphotographytrainingbook,anditissoldworldwide.
Asidefromtheworldofphotography,Robertoisahigh-performanceremote-control
helicopterpilot,a(notsogoodanymore)classicalguitarist,andatabletennisfanatic.He
isalsoamajorfoodieandisstillsearchingforthemostamazingredwineandthemost

pungentcheeses.Hissearchfortheperfectsteakisover;hefounditintheJapanese
Wagyu.


Contents
FOREWORD
READTHISFIRST:THEPICTUREPERFECTPOSINGSYSTEM(P3S)
WhyAreSomePhotosUsedRepetitively?
WhytheAmateurPhotos?
ANotetoModels,Brides,andAnyoneElseInterestedinPosing
ForBrides
ForModels
INTRODUCTION
WhatThis15-PointPicturePerfectPosingSystem(P3S)IsandIsNot
WhatItIs
WhatItIsNot
PART1THEPICTUREPERFECTPOSINGSYSTEM(P3S)
1:UNDERSTANDINGANDPOSINGTHESPINE
PartsoftheSpineYouMustKnow,andHowTheyAffectPosing
TheCervicalSpine
TheThoracicSpine
TheLumbarSpine
PoseAnalysis
DevelopinganEyeforDetails
OnYourOwn
2:WEIGHTDISTRIBUTIONANDITSEFFECTONPOSING
ShiftingtheBodyWeightandCrossingtheFeet
ShiftingtheBodyWeightandNotCrossingtheFeet
WeightDistributionSittingDown
OnYourOwn

3:JOINTSAND90-DEGREEANGLES
BendingJointstoAvoidStiffness
90-DegreeAnglesonArms
Armsat90-DegreeAngleswithCouples
Using90-DegreeAnglestoSculptEitheraStrongoraFinessedPose


90-DegreeAnglesontheWristsandFingers
OnYourOwn
4:THREE-POINTCHECKCOMBINATIONS
3-PointCombinationCharts
Workingwiththe3-PointCharts
Collarbone,Chin,andEyeCombinations
Applyingthe3-PointCombinations
OnYourOwn
5:CREATINGGAPSWITHTHELOWERBACKANDELBOWS
TheGapEffect
CreatingGapsThatLookNatural
UsingLighttoAidtheGaps
UsingWallstoAidtheGaps
The“S”Curve
6:THEHAND/ARMCONTEXTSYSTEM(HCS)
WhyAreArmsandHandsSuchaProblem?
TheHand/ArmContextSystem(HCS)
BreakingDowntheHCS
TheThreeHCSKeyExecutionConcepts
TheFiveOptionsintheHCS
SomethingtoThinkAbout
OnYourOwn
7:STYLIZINGHANDSANDFINGERS:ADVANCEDTECHNIQUES

PosingMalevs.FemaleHands
FemaleHandSuggestions
MaleHandSuggestions
PosingCouples’HandsandFingers
FingersPiledonTopofEachOther
HoldingHands
UsingtheHandstoBlockaDoubleChin
OnYourOwn
8:ORIGINOFHANDSANDFINGERS


WhentheOriginoftheHandsIsVisible
HandsPlacedAcrossAnotherPersonontheSideAwayfromtheCamera
OnYourOwn
9:AVOIDMIRRORING
OneHandHigherthantheOtherwithIndividuals
OneHandHigherthantheOtherwithCouples(Mirroring)
ElbowsNeartheShoulder
ElbowsNeartheStomach
Hugging
WhyYouShouldAvoidMirroringinGroupPortraits
OnYourOwn
10:INTERACTIONANDPLACEMENTOFSUBJECTS
AFirstLookattheImpactofInteraction
ReactingtoVariationsonPlacementandInteraction
WhenBothSubjectPlacementandInteractionFail
StorytellingthroughSubjectPlacementandInteraction
OnYourOwn
11:POINT-OF-CONTACTCHECK
UnderstandingthePointofContact

UnderstandingCorrectSubjectEmphasis
ElbowsEmphasis
ShouldersEmphasis
LegsEmphasis
OnYourOwn
12:BALANCINGTHESUBJECTRATIO
FindingtheMidpointandOverlapPoint
MakingAdjustmentstothePoseBasedontheMidpoint
OnYourOwn
13:THENOSEX-FACTOR
NosesPointedTowardEachOther
NoseX-FactorVariations
NosesParalleltoEachOther


CreatingSpontaneousGroupPortraitsbyImplementingtheNoseX-Factor
HowtoSpotanX-FactorOversight
AWordaboutStyle
OnYourOwn
14:SUBJECTEMPHASIS
TheSubjectShouldBeatLeastasBrightastheBrightestPointintheFrame
MatchingtheBrightnessLevelstoKeepEmphasisonthePose
TheDirectionofLightShouldInfluencePartofthePose
UseFraming,LeadingLines,Isolation,Contrasts,RepetitionorSizetoMaketheSubject
theMostProminentElement
SimpleEmphasis
CompoundEmphasis
OtherVariationsforIsolatingtheMainSubject
OnYourOwn
15:POSINGWITHMOVEMENT,FEELING,ANDEXPRESSION

PosedPhotojournalism
Example1:PosingaModelwithMovement
Example2:PosingaBridewithMovement
WhenPosedPhotojournalismFails
WhyPosingtheEyesIsSoImportant
TheThreePartsoftheEye
TheEyelid
TheSclera
TheIris
TechniquesforPosingtheEyes
GivetheBrainaTask
GivetheBrainSomethingtoCount
HaveYourSubjectsCloseTheirEyes
BringingFeeling,Movement,andExpressionAllTogether
OneLastWord
OnYourOwn
Analysis
PART2POSINGCOUPLESWITHTHEPICTUREPERFECTPOSINGSYSTEM


16:POSINGCOUPLESWITHTHEPICTUREPERFECTPOSINGSYSTEM
ReviewingthePoses
Traditional
HimBehindHer
HerBehindHim
Walking
Kissing
Playful,Action,Movement
HoldingHands
Sitting

TogetherSidebySide
Interpretive
DistanceApart
Hugging
Foreground/Background
FacingEachOther
KissAnticipation
FeaturingHim
FeaturingHer
T-Pose
OneLastWord
CONCLUSION
INDEX


Foreword

ByDavidEdmonson
IabsolutelyloveRobertoValenzuelalikeanadoptedson,andIamsoproudofhim!He
haschallengedmeandmywayofthinkingaboutphotography.Hehaslovedmeandmy
familyintimesofneed.GettingtoknowRobertoonapersonallevelhasshownmethat
practicehasbeenhislifestory.Iwasn’tsuremyselfofwhatIvaluedmoreasanartist—
practiceortalent.Growingup,mytalentalonehadtakenmetogreatheightsandprovided
wellformyfamily.Itwasn’tuntilIhadastrokeandhadtorelearnsomeofmyskillsthatI
realizedthetwomostimportantthingstomenowarepassionandpractice.
Ifyouwanttobetrulygreatatsomethingyouhavetopracticeyourcraft.Lifeisfullof


manyfailures,mistakes,andplateausthatyouhavegrownthroughinordertoreachgreat
heights.Ittakesdiscipline,acompassforknowingwhereyouwanttogo,andwisdomto

knowwhattodoonceyougetthere.Weallknowphotographerswhobreakouttheir
cameraonlyforpayinggigs,andtheywillgoonlyasfarastheirtalenttakesthem.When
youlookatgreatartists,athletes,andmusicianswhohaveachievedahighlevelof
success,onethingisacommonthread:Theyhavespentandcontinuetospendcountless
hoursperfectingtheircraft.Theylearnandhaveappliedthedisciplineofpractice.
JustthinkofVincentvanGogh,oneofthemostinfluentialartistsofthenineteenth
century.HespentayeardrawingandredrawingTheSowerjusttogetthefeelingthatwas
inhisheadexpressedcorrectlytomatchhisvision.Assoonashefinished,hethen
decidedtotakesomethingassimpleasasunflowertostudyhowtobestvisually
communicateitinitssimplicity.Inhisfuturepaintings,hewouldincorporatewholeparts
andportionsofthelessonshehadlearned.Neartheendofhislife,hispassionand
disciplineledhimtoproduce60paintingsin60days.Apaintingaday!Bycomparison,
PaulGauguinwouldtakeuptofiveyearstofinishhisworks,andhehappenedtobevan
Gogh’smentor!
Robertolivesadisciplinedandpassionatelifethatextendsfarbeyondhislovefor
photography.Helearnedhowtoplayclassicalguitarwellenoughtonotonlyteachbut
alsoperformconcerts.Hepursuedhiswifewithpersistence,askingheroutover500times
beforesheeveragreedtotheirfirstdate!Hesawaneedamongphotographerslookingfor
the“quickfix”andsatdownandwrotehisfirstbook,PicturePerfectPractice.Canyou
starttoseethepatternhere?
Photographywasoriginallyknownasascientificartthatdidn’thavetheflexibilityof
othermedia,whereonecan,forexample,reworkpaintandclaytorefinesubtledetails
likeposinguntiltheartistiscompletelycontent.Onceitfilledthatvoid,itallowed
paintersandsculptorstoevolvebeyondtheformalstylesoftheday,leadingtomore
freedomandexpressionfirstseeninimpressionism.Suddenly,youhadtoposeyour
subjectasaphotographerwithalltherefinementdoneincamera.Withthisbook,Roberto
hastakenhissystematicapproachtostudyingthevariousaestheticwaysyoucanrefine
yourposing,applyingittobodypartssuchasheadsandhandsinordertovisually
problemsolveanyshootingsituation.It’snotposingthat’sbad—it’sbadposingthat’sbad.
Here’swhereyourpracticeandthelessonsinthisbookwillpayhugedividends.When

someoneisinfrontofyourlens,youhavealloftheirpersonalandexternalissuesgoing
oninsideofthem.Knowingwhattodoinanygivenposingscenariowillgiveyouthe
confidencetoquicklyreworkascenethroughposingandusethepowerofyourvoiceto
connect,disarm,anddirectyourclients.Ifyourinsecuritycomesoutbecauseyouhaven’t
learnedtheartofposing,andyouarerelyingonlyonyourtalentasIdid,youwillnot
alwaysserveyourclientsoryourselfwell.
WhatIloveaboutRoberto’sworkishowhehandlessomeofthetoughestchallengesin
posingwhileleavingroomforserendipity.Intheend,whatevertheposeis,itonlyserves
toreinforceandnotdistractfromtheemotionandbelievabilityoftheimpactofyour
image.
Iencourageyoutodevourthisbookandapplywhatyoulearnbyputtingitintopractice.


That’stheonlywayyouwillgrowbeyondyourtalentandelevateyourworktoanewand
higherlevel.CreditgoestomyfriendsRobertoValenzuelaandJerryGhionis,who
remindedmethatifyouwanttobeabetterphotographer,itstartswithbeingabetter
person.Passionanddisciplinearethefruitsofapersonmovingintherightdirection!


PICTUREPERFECTPOSINGSYSTEM(P3S)DECISIONPOINTS


ReadThisFirst:ThePicturePerfectPosingSystem(P3S)
Posingisenergy.There’smoretoaposethanhowitlooks.Posingisaformofbody
language,andtherefore,itemitsacertainenergytotheviewer.Justaswordscanbe
invitingordefensive,socantheenergyproducedbyanypose.
IdesignedtheP3Smethodtoclearouttheguessingandthemadnessthathasdominated
manyphotographers’approachestoposing.Photographers,includingmyself,haveposed
oursubjectsbyshoutingoutnumerousdirectionstothem,withoutreallyknowingthewhy
behindourposingcommands.Wehavetriedtoremedythesituationbybrowsingthrough

fashionmagazineadsanddispatchingasmanyposesintoourbrainaspossible,inthe
hopethatwecanrecallthemperfectlyduringaphotosession.Wealsooftenexpectthe
peoplewearephotographingtomoveandposeasexperiencedmodels.It’slikeshooting
dartsinthedark,hopingthatoneinahundredwillscoreasuccess.Thisisnowayto
manageacareerorabusiness.Evenifyouareahobbyist,youwillfinditveryfrustrating
thatyoumustrelyonlucktoachieveagoodpose.Thisbookproposesadifferent
approach,anapproachwithwhichyoucanmakeconsciousdecisionsandbeincomplete
controlofeveryaspectoftheposingprocess.Here’showtheP3Smethodworks.
Eachsquareintheillustrationonpagexivrepresentsadecisionpointyoumustmake
whenposingpeople.Thechartincludesatotalof15points,representingeachofthe
chaptersinthisbook.Threeofthesquaresarepink,becausetheydenotedecisionpoints
thatonlyrelatetoposingcouplesorgroups.Inotherwords,whenposingindividuals,you
haveonly12pointstoconsider.Whenposingcouplesorgroups,youhavetoconsiderall
15points.ImplementingtheP3Smethod,youstartyourdecision-makingprocesswiththe
spine,mainlyensuringthatthespineisnothunched.Thespineisthefoundationofall
poses,somakingsurethatyoursubjectshavegreatpostureisparamount.Attheendofthe
decisionprocessisposingwithmovement,feeling,andexpression.Irecommendsaving
thisdecisionforlast—hencetheirpositionsontheP3Sdiagram.Otherthanthefirstand
lastposingpoints,the13pointsinthemiddlecanbedecidedinanyorderyouwish.Inthe
illustration,thedecisionsquaresareplacedintheorderthatthechaptersappearinthe
book,butyoucanshiftthemaroundasyouseefitwhileposingindividualsorgroups.As
youreadandunderstandthephotographicissues,oversights,andstylingoptionsineachof
thechapters,youwilllearnthelookandenergyoftheposes,andyouwillbecomewell
equippedtogothrougheachofthesepointsandmakedecisionsbasedonyourownvision
foraparticularphotograph.
Dependingonthestyleofshoot,youwillmakedifferentdecisionsateachpoint.For
example,ifyouwereshootingaboudoirsession,youmightmakeachoiceateachofthe
decisionpointsthatwouldresultinaglamorous,elegant,andperhapsaseductive,
femininelook.However,ifyouwereshootingafashionspread,theP3Sdecisionswould
changetoprovideyouwithhigherenergyanglesandamoreoveralldynamiclook.During

awedding,youcouldmakedecisionsthatyieldaromanticposethatalsosayssomething
aboutthecouple.Eachofthesepointsnotonlyhelpsyouwithyourstylingchoicesbut
alsoservesasaguideforspottingpotentialissuesthatwilldefinitelycomeupduringthe
posingprocessandcouldpotentiallyruinyourphoto.Forexample,imaginethatyouare
workingwithacouple,andasyouposethem,younoticetheman’sfingersareawkwardly


peekingoutfrombehindthefemale’swaist.ThattopiciscoveredinChapter8,whichis
theeighthdecisionpointintheillustration.Anotherexamplewouldbeifyouareona
shoot,andyouseethatyoursubject’shandsandarmsarecreatingadistractionratherthan
havingapurpose.ThisiscoveredinChapter6,regardingtheHand/ArmContextSystem
(HCS)decisionpointonthechart.Toreview,theP3Sposingmethodservestwomain
purposes:
1.Tocreatethestyleyouenvisionthroughpurposefulposing
2.Tospotandfixposingoversightsthataredistractinganddamagingtothepose
ThinkoftheP3Smethodas15individualpartswherechoicesmustbemadeandwhich
makeupasinglepose.Alldecisionpointsmustbeconsideredforeverypose.
Thismeansthatyoumakethecall.Itisuptoyouhowandwhatyoudecidetodoatevery
point,aslongasyouconsiderallofthem.
Althoughitmayseemcomplicatedtothinkof12or15pointsduringtheposingprocess,
youwillbesurprisedhoweasytheyaretoremember.Eventually,thedecisionpointswill
presentthemselvestoyouoverandoverduringeveryposeyoucreate.Youcan’thelpbut
memorizethem.Myrecommendationistoreadandfollowalongwiththebookthewayit
wasintended.Trytore-createtheposinglessonsasyoureadthem.Gobackthroughyour
oldworkandanalyzethephotosusingtheP3Ssystem.Combiningdifferentlearning
methodsinadditiontojustreadingthroughthechapterwillbethekeytohowmuchyou
getoutofthisbook.
Iamwellawarethatifpeopleseeahighschoolseniorphotooraweddingphotoina
book,theyautomaticallyjumptoconclusionsthatthisbookisnotforthem,sincethey
don’tphotographseniorsorweddings.Restassuredthatthisbookisaboutposinghuman

beings,regardlessoftheeventorthestyleoftheirclothes.AlthoughIamprimarilya
weddingphotographer,Ihavespentyearsphotographingformagazines,fashioneditorials,
commercialphotography,highschoolseniors,andcelebrities.Mytrainingisverydiverse,
butIdohaveanunexplainablepassionforweddingphotography,duetotheunique
location,posing,andpsychologicalchallengesthatweddingspresent.Therefore,I
purposelylimitedthenumberofweddingphotosusedasexamplesinthisbookand
replacedthemwithphotographsfromavarietyofgenres.However,forPart2ofthebook
(PosingCoupleswiththePicturePerfectPosingSystem),Ididinclude,forthemostpart,
photosofcouplesduringtheirweddingsorengagementsessions.AsIsaid,couplesare
couples,regardlessofwhattheyarewearing,sofocusontheposinglessonsbeingtaught.

WhyAreSomePhotosUsedRepetitively?
Throughoutthebook,youwillnoticesomephotosareshownoverandover.Thereasonis
simple:IfIfeltthataparticularphotowouldhelpclarifyapoint,Iusedit.Thisbookis
dividedinto15sectionsthatdiscussvariousaspectsofposing.Someofthephoto
examplescontainteachingmaterialfromseveralpointsofviewthatcorrespondtomore
thanonechapter.Forexample,inonechapter,Imightbereferringtoaphotothatfocuses
onthesubject’sexpression,butinadifferentchapter,Icouldusethatsamephototo
explainhowthesubject’sarmsareposed.Ispentcountlesshourslookingfortheright
photostouseforeachpointIwasmaking.


WhytheAmateurPhotos?
Thepurposeofthisbookistogiveyoutheverybestwritteneducationalexperienceonthe
topicofposing—nottouseupvaluablepagestryingtoimpressyouwithmybeautiful
photos.TodemonstratemanyofthepointsintheP3S,Iusedseveralphotosfromthefirst
coupleofyearsofmycareerthatdonotrepresentmyproudestmomentsasa
photographer.Butdependingonthelesson,IalsoshowmorerecentworkthatIlove.Both
typesofphotosarefeaturedthroughoutthebook.But,forthesakeofeducation,Iputmy
egoasidetohelpyouandtomakethematerialinthisbookmorememorable.Afterall,ifI

onlyshowedyoumyverybestwork,howareyousupposedtolearnwhatnottodo?
Peoplelearnsomuchmorefromstudyingtheirmistakesthantheirsuccesses.Therefore,if
ithelpsyou,Iwantyoutoseemymistakes,learnfromthem,andgrowasaphotographer.
Ifyouareinterestedinseeingmoreofmyrecentwork,fliptoChapter15,wherethe
majorityofthephotosareallrecentwork,orvisitmywebsiteat
www.robertovalenzuela.com.

ANotetoModels,Brides,andAnyoneElseInterestedinPosing
Iwrotethisbooknotonlyforphotographersbutalsoformodels,brides,andanyoneelse
whowishestoknowhowtoposethemselvesandothersinaflatteringmanner.
Understandingtheprinciplesofphotographyandtheiroutcomesisbothfascinatingand
notthatdifficult.Forthesakeoflanguageclarity,Iaddressphotographersdirectly,butI
wrotethisbookwithallofyouinmind.Ifyoudonotwishtoreadtheentirebook,I
recommendskimmingthroughthechaptersandfocusingontheFlashCardsthatappear
throughoutthechapters.TheseFlashCardsgiveyouaquickwaytolearntheessential
principlesandtechniquesfromeachchapter.

ForBrides
Ifyouareabride-to-be,thisbookwillgiveyouaheadstartforknowinghowtopose
yourselfwellandwhattoavoiddoing.Naturally,youhaveprobablyhiredaphotographer
andexpectthatpersontoberesponsibleforposingyouwell.But,trustme,judgingfrom
experience,youdonotwanttorelycompletelyonyourphotographer.Duringweddings,
photographershavetoweardifferenthatsandmanagemultiplechallengessimultaneously;
therefore,theposingaspectofaphotographer’sjobcouldsuffer.Thisisthereasonit
wouldbeworthwhiletoknowtheprinciplesofhowtoposeyourselfforthemostflattering
results.Evenforwhatwouldseemarudimentarytask,suchasputtingonyourwedding
dressorwalking,youshouldbeawareofgoodposture,hand/armplacement,andthe
overalldynamicsthatyieldthemostbeautifulphotograph.Acoupleofyearsago,Iwas
askedbyaprominentdressdesignertoteachafewclassesonposingforfuturebrides.The
classeswerepacked,whichindicatedtomethatthereisagreatneedanddesireforbrides

tolearntheprinciplesofposingsothattheylooktheirbestanddonotalwayshaveto
dependonthephotographer.

ForModels
Ifyouareamodel,theconceptstaughtinthisbookwillmakeyouawareofthe
importanceofhowyoumove,whatanglesyouchoose,howtocreateastrongversusa
passivepose,andmuchmore.Notonlywillyoubeabletomovewithapurpose,youwill


alsoknowthereasoningbehindthewayyouposeforthecamera.Aknowledgeablemodel
isawareofhisorhermovementsand,thus,theenergyheorsheemitsthroughposing.
Learningandapplyingtheskillstaughtinthisbookwillresultinanoverallmorepositive
shootingexperiencefortheclient,thephotographer,andyourself,nottomentiongiving
youanedgeoveryourcompetition.
Itismyhopethatafterreadingthisbook,youwillposewiththegreatconfidencethatcan
comeonlyfromknowledge,notguesswork.


Introduction
Handsdown,posingpeopleisoneofthemostdauntingskillsthatphotographersstruggle
with.AteveryconventionorworkshoparoundtheworldwhereIhavetaught,Ialways
askmystudentstosharewhatthemostdifficultaspectofphotographyisforthem.Nearly
80percentofthetime,theanswerisposing!Allaspectsofposinghavebeenpinpointedas
thesourceoftheirheadachesand/orpanicattacks—howtoposewomen,men,groups,
couples,andsoforth.Duringmyearlycareer,Iexperiencedsimilardifficultieswith
posing.Afteryearsoffrustrationanddespitemybestefforts,Iwasaccomplishingmerely
afewgoodposesinanentirephotoshoot.Idecidedtochangemyapproach.Aparadigm
shiftinthestudyofposingwasnecessaryandlongoverdue.
Whyisitthatbothnoviceandveteranphotographersbecomestumpedbyposing?I
believethereasonisthemethodweusetostudythistopic.Wehavereliedmainlyontwo

typesoftechniquestotacklethisposingissue.Thefirstisthatweturntoourcomfortzone
poses.Theseareposeswealwaysrelyonwhenourbrainbetraysus,andwedon’twantto
enterpanicmode.Mostphotographershavefiveorsoofthesetypesofposes,and
regardlessofwhomwearephotographing,wejustforceourclientstofitintothosefive
poses,sowedon’tloseface.
Thesecondtechniqueissimplytoforceourselvestomemorizeposes.Iwouldliketo
sharewithyouananalogyfrommyclassicalguitardays.Ifaguitarinstructoristryingto
teachstudentshowtoplaychordsonaguitar,theinstructorcoulddownloadachartof
popularguitarchordsthatworkwellinmostsituationsandaskthestudentstosimply
memorizethechartandpracticetheirfingerplacementonthestrings.Or,theinstructor
couldteachthestudentsthetheoryandstructurebehindchords,sothatthestudentscan
buildanychordtheirheartdesires.Now,thestudentscanjamrightalongsideanypopular
songbybuildingthecorrectchords,insteadofbeinglimitedtoonlythethreeorfour
chordstheymemorized.Wemuststoprelyingonmemorizationofposes.Instead,I
suggestwebegintounderstandthestructureofhowasuccessfulposeisbuiltfrom
scratch!
Thepurposeofthisbookis,therefore,toteachyouhowtocorrectlycreateapose,instead
ofmemorizingposes.Istronglybelieveyouwillfeelagreatreliefwhenyounolonger
havetouseamemoryflashcardsystem.Instead,wewillbuildposesusingthe15-point
systemcalledthePicturePerfectPosingSystem(P3S)thatIhavecreatedtosimplifythe
posingprocess.

WhatThis15-PointPicturePerfectPosingSystem(P3S)IsandIsNot
IwouldliketoquicklyhighlightjustacoupleofpointsaboutthisbookandtheP3S.

WhatItIs
Likeallart,photographyissubjective.Itispartscienceandpartart.Everyphotographer
isentitledtohisorheropinion.Thechallengewhenwritingabookonposingisthatthe
topicofposingisoneofthemostsubjectiveaspectsofphotography.Thehumanbodycan
beshaped,bent,andcontouredincountlesswaysthatcanyieldsomeprettyinteresting

visualresults.Fine-artphotographerssuchasSylvieBlumhavefocusedmuchoftheir


workoncontouringthehumanbodyinwaysIneverthoughtpossible.Yettheendresultis
prettyamazingtosee.So,ifposingissosubjective,howisitpossibletobeabletowrapit
upinaneatlittlepackagethatIcalla“system”?Thereasonisthattherearesome
universaltechniquesthatmakethehumanbodylookmorerelaxedandpleasant.Thisbook
isnotforthephotographertryingtobendthehumanbodyinbizarrewaysforthesakeof
art.Thisbookisforthephotographerposingnormalpeople—men,women,family
members,children,couples,highschoolseniors,andsoon.
The15-pointP3Smethodcameaboutafteryearsofresearch,keenobservation,andmuch
frustrationalongtheway.Iwantedtoknowhowitwaspossibletocreateposesthatlook
effortless,pleasingtotheeye,andcomfortablefortheclient,whetherthatclientissitting,
standing,orlyingdown.Iwantedtoknowwhattodowithaperson’sarmstofocus
attentiononhisorherfaceandnotthearms,andwhattodowithaperson’slegssothat
thebodylooksmorerelaxed.ThesearejustacoupleofexamplesofwhatIwasseeking.
Aftermuchobservationandtrialanderror,Islowlybegantoseepatternsthatseemedto
work.Ibegantostudythesepatternsandtoapplythemtomyclients.Theresultswere
prettyamazing!Iwasbuildingaposefromscratchinsteadofjustmemorizingposesand
copyingthempiecemeal.
Onepatternafteranotherbegantoemerge,andlittlebylittletheP3Sapproachwas
organicallycreated.IusethissystemasaguidetorememberwhenIposemyclients.The
systemhasalsohelpedmeunderstandwhyaposedoesnotworkorwhyitlooksawkward.
Mostimportantly,ithashelpedmeunderstandhowtokeepvisualemphasisonmy
subject’sface,regardlessofthepose.Thisisimportantbecauseoneofthemainchallenges
wehaveaspeoplephotographersistoavoidlettingthearms,waist,legs,knees,or
shoulderstakeattentionawayfromthesubject’sface.Eventhoughthesepartsofthebody
canpotentiallydrawattentionawayfromtheface,theycanalsobeusedtoframetheface
orcreateaninvitingportraitinsteadofadefensiveone.Carefulpositioningofthearms
canalsobeagreathelpinslimmingasubject’sbody.

WhatItIsNot
BynomeansdoIclaimthatthattheP3Smethodisthebe-allandend-allofposing
techniques.Itisveryimportanttosetexpectationsfromthebeginning.Thereisnorightor
wrongwayinphotographyorposing.Bothyouandyourclientshavetolikethe
photographs,andifyouhaveachievedthatmuch,thenyouhavemetyourprimarygoal.
Thissystemisnotmeanttobeasetof“must-follow”rulesorthecommandmentsof
posing.EachpointoftheP3Sapproachcanbebroken,andyoucanstillachieveagreat
image.Onethingisforcertain:Thisposingsystemhashelpedmetremendously
throughoutmycareer.BecauseIconstantlypracticetheP3Smethod,Iknowall15points
byheart;therefore,Iknowwhenitisbesttobreakthem,andhowtogetthemostoutof
eachpointbasedonmyvision.Itallcomesfromsituationalexperienceandtrialanderror.
Forexample,incertainhigh-fashionorfine-artphotography,theposescanbeavantgarde;
therefore,therearenorulesorlogictoanyofit.Butforthemostpart,inportraitand
weddingphotography,knowingthe15pointsoftheP3Smethodwilldefinitelyserveyou
well.
Mygoalforthisbookistohelpdispelyourfearofposinginawaythatispracticaland
easytoimplement,withouthamperingyourcreativityorpersonalstyle.Ibelievethata


person’sfearofposingisrootedinself-doubt.Youdoubtyourposingskills,youdoubt
yourself,andyoucompareyourselftootherphotographers.Let’sremovethesedoubts
onceandforall!Readon…


Part1:ThePicturePerfectPosingSystem
(P3S)