The Couple's Posing Guide - PDF

Posing GuideFOR COUPLES

About this

Hi!My name is Michael Anthony. I am a wedding and portrait

photographer based in Los Angeles, California, and I created this

posing guide as a quick reference for you to help you craft images

while shooting in the field.

I have photographed hundreds of couples together, and created this

guide based on the images that our clients have purchased in our

studio.

I have always been of a belief that my couples are the ones that help

me to be a better photographer… because they essentially vote with

their wallets… The images that they choose to buy are the ones that

they love the most. This simple mindset has helped me to hone my

skills over the years.

Posing is a language, and your goal when crafting poses is to

communicate the story you have in your mind and transpose it to an

image. In this guide we are going to quickly go over the posing

foundations…which some people call “rules” for both males and

females.

Understanding these foundations will help you to craft unique

poses that make your clients feel comfortable on any shoot.

You can use this guide to help you before you go out to a shoot, or

while you are in the car waiting for your subjects.

The most important thing you can take away from this guide is

inspiration. My hope is that if you are getting ready to shoot now…

that you will remember one of these poses, and use it to craft a

completely unique image for your bride and groom.

Just one more thing, if you enjoyed this

guide and want more free resources,

join our Facebook Community at:

You can follow us on Instagram at @elevateyourphotography,

or follow my personal IG at @michaelanthonyphotography.

GUIDE

www.facebook.com/groups/elevateyourphotography

www.elevateyourphotography.com

If you enjoyed this guide, you can see all of our courses at

Standard Story & SignatureTHE SX3 POSING METHOD

These are the images that our studio is known for, they are the ones we share in our portfolio, and the ones that we typically will print large for our clients. These images typically feature off-camera flash, and will usually be environmental in nature, meaning we see a lot more background. These images will take the longest to create and will yield the smallest amount of images.

Signature

These are some of the most salable images we shoot. And will typically incorporate either motion, or emotion. The best versions will incorporate both. An example of a story sequence would be a couple walking toward camera and interacting with each other. Story sequences will not ever be camera aware as they are meant to illicit a “caught in the moment” feel to the viewer.

Story

These images are traditional poses, shot in natural light, and tighter in composition. These include images of the couple camera aware, as well as looking away, facing each other, back to front, etc. The key component here is that we want to create a lot of “basic” images, in a short period of time, and in multiple orientations.

Standard

Here are the three types of images that we shoot.

To make our shooting process simple, I break down a shoot into three different phases per each particular scene I am shooting

in.

This means when I put my camera bag down, I go through three different types of images, and this ensures a consistent

experience for each of my clients, as well as a variety of imagery. I shoot each image both horizontal, and vertical.

The way that I like to work is to complete a set of all three sequences, and then move to the next location. I repeat this

2-3 times during a shoot, and that will typically yield 100-125 proofs for my client, which makes them happy, and gives

us a good variety to help the client make easy purchasing decisions in the sales session.

Throughout this guide you will see me refer to different poses as which sequence they are typically shot in. Understand

there are always exceptions to the rules.

Standard Story & SignatureTHE SX3 POSING METHOD

Engagement Posing Guidefor Photographers

The Standard is a simple pose that incorporates a couple embracing and looking at each other. While it seems simple

enough, there are a couple of mechanics and variables that can help this look better.

First, following the posing foundations, make sure that the subject’s weight is placed on the legs furthest away from you.

Next ask the groom to dip the bride back just slightly and make sure that the bride’s front leg is bent. This will do two

things, first it will create an s-curve in her back, which is a standard compositional rule that is derived from Ancient

Greek & Roman Sculpture. Second, it will make the groom appear slightly taller.

From here you can ask bride and groom to interact, have one or both look at the camera, and transition into story posing

by asking him to whisper something ridiculous or funny into her ear.

I recommend starting your sessions like this in order to make your couples feel comfortable in front of the camera.

STANDARDThe Standard


This is a simple detail shot that can be derived from

a standard pose. To create this, ask the bride to

bring her left arm up and under the groom, and

grab the grooms forearm with her right hand

Perspective is important here, and you can use

different variations to tell your story. For this

particular image, I used a tight crop here to place

focus on the brides ring. Cropping is important

here, and when cropping at the face, I chose not to

use the eyes because it would take the focus off of

the ring. For this type of shot however, you could start with

the couple walking toward you. And then finish

with this type of image to create a full spread in the

album.

STORY

Let’s Go Together


This pose is simply a moneymaker. I have always

said that my entire photographic skillset has

evolved solely based on the images my clients

choose to buy, and this particular one seems to sell

every single time.

There are a lot of reasons to love this as a couple. It

shows emotion, and if done right represents both

the bride and the groom in a flattering manner.

To get this, I ask the groom to grab the bride under

her butt and lift her up. It’s important to

demonstrate how to lift her otherwise they will do

this wrong. I ask him to grab his opposing wrist

after placing his arm around her. From there it’s

very important to instruct the bride how to pose

correctly.

The bride will be looking down at the groom, which

can cause a double chin. To avoid that, what she

needs to do is extend her neck by pushing her

forehead forward and then down.

From there, ask her to bend the leg closest to you,

and to point both toes.

This pose can be used in all three posing types,

depending on the context of the background and

the images that will go next to it in the album.

STANDARD / STORY / SIGNATURE

Lift & Pop

This is a great pose for creating natural expression and making your clients feel

comfortable during a session.

To create this, ask the bride to stand behind the groom, tell both of them that she is

going to run and jump on his back, and he is supposed to catch her. Tell him he can’t

look back to see how close she is.

This particular pose can be used to create a variety of different album spreads for your

client. You can use the entire sequence of images from her running up from behind

him to her jumping on his back.

You can use a variety of different looks here, after you capture the natural expression,

you can ask her to whisper in his ear, bite his ear, and ask him to spin her around, all

which will create more expression for you to capture.


STORY

Piggyback

This is a simple variation of the standard pose. The difference here is that you are incorporating a light source behind

the couple, and using the bride’s hand or the groom’s face to reflect the light back into their faces.

This will create an intimate image that can be used as a signature pose in a couple’s engagement album.

This seems like a straightforward pose, however getting the lighting right is where this can be a bit confusing. In order

for this effect to work properly, you will place a light source, preferably a powerful strobe behind your subjects. Then

you can use either a hand, or offset the couple’s faces to reflect light back onto your subjects. This creates an intimate

layer of light that works really well in a low light situation, indoors, or at night.

One simple way to do this with correct posing context is to have a couple lean in and “almost” kiss. Have one subject tilt

their head like people do when they kiss, but keep space between their faces. This will give the light room to reflect off

one subject’s face, and illuminate the other’s.


STANDARD / SIGNATUREReflections


SIGNATUREPower Stance

This pose works well by utilizing the triangular

composition shape created by a standing and

sitting couple. You can have either the bride or

the groom sit down. Have them connect with

each other by either wrapping an arm around

the others leg, or seated on a chair or bench,

one arm around the other’s shoulder.

I typically like to use this type of pose when

creating a dramatic environmental portrait. In

this image the bride is sitting on her hip with

one leg draped over the other, emphasizing her

S-curve and capturing a unique composition.

When asking a groom to sit however, you can

have him lean on one leg, which will broaden his

shoulders by bringing them closer to the

camera. You can ask the couple to look at the

camera, or away, but generally I don’t ask them

to look at each other because the height

difference will create an awkward connection

between them.

Use this pose sparingly, and when appropriate.

A good environment to use this would be a

large staircase or when there is a small area for

only one subject to sit with a pleasing

background behind them.

This pose is another one that couples seem to love. Over the years when we have done this, it almost always ends up

being a large print in our client’s homes. Again, it may seem a bit unusual, but I can tell you from experience that it works.

This pose doesn’t work for all couples, I have found that it works well when you have a large height difference between

the bride and the groom. While it’s pretty simple to deduct how to craft this by looking at the image, there are just a

couple of things to note. First, use a long lens to take advantage of the compression. This will help to fill the frame with

the couple and remove any distractions from the background.

Second, be sure to have the bride extend her chin since she will be looking down at the groom, this will eliminate any

double chins.

Lastly, ask the groom to raise one of his legs so he isn’t lying completely flat, this will give the pose more shape and

dimension.


STANDARDIn Her Arms


This is one of my favorite poses to do with my bride and my groom. It's pretty

simple to execute as well. All you do is have a couple put their arm around

each other and ask them to walk toward the camera. As they are walking

toward the camera ask them to Bob each other with their hips and try to

knock the other one down.

Seems pretty simple right? It actually is really simple. The best part about this pose is that it makes the couples

experience with you during the shoot a positive one, and at the same time it exposes their personality and garners

genuine expression

Every couple will react to this different, some couples will be more reserved, and we have had some brides push their

groom into the ocean as they were walking along the beach. The fun part about this is that you will always get a different

reaction.

I recommend shooting this with a wider prime lens, between 35 and 50 mm I found best. You will likely need to move

with the couple in order to keep the composition fun and interesting.

STORY

Run & Bump


This is another simple motion pose that allows you

to tell your clients story. This one is a bit harder to

nail because the couple is actually running. You can

do this in a variety of ways including having a

couple run toward you, but the way that I prefer to

do it is have them run perpendicular to the camera.

Typically two people running together are running

side-by-side, however for photos when you are

photographing them perpendicular to the camera

you want to explain to them to run it like they are

running on a rope, with one person in front of the

other.

This will allow them to both stay in focus, and will

allow you to have a better perspective and

composition.

Having a couple actually run for this pose as

opposed to being static creates real motion in their

attire and in their hair. By asking them to look at

each other you will also gain natural expression and

connection between the two of them.

STORYRunaway


This is a pretty easy pose to accomplish that will yield great expression with the proper coaching. Essentially we are just

seating the bride into the groom’s lap, having her wrap her arms around him, and then coaching them to get expression.

To get expression, you could tell them a joke, ask him to whisper something ridiculous into her ear, or the easiest, just

ask them to fake a laugh……when people fake a laugh, what actually happens is that awkward feeling that comes as a

result of forcing it, causes them to really laugh at one another, and that is the expression that you shoot.

When you are seating people, be conscious of their legs. One of the things I like doing is seating them somewhere that

I can use foreground elements to cover their lower half.

In this pose you can go through standard expressions such as looking at each other, or even at camera. You can then ask

her to kiss his forehead, or him to kiss her temple all before obtaining real expression from them through the story

format. The possibilities are endless.

STANDARD / STORYSeated Snuggle


Another simple pose that stars with the bride’s

back leaning into the groom. His hands can be on

her waist or around her shoulders, and from here

you can vary up the expressions and posing to your

liking. The important thing with this pose is to pay

attention to your foundations, such as transfer of

weight, and break up the symmetry in the bride’s

shoulders.

One thing that I like about this pose is the ability to

gain expression out of your subjects in it. It is a

natural pose that a happy couple could find

themselves in whether or not they are posing for a

photoshoot. Therefore with good coaching you can

easily get them to give you great expression and

create an album spread quickly from this single

pose.

If you have your groom’s arms over the bride, you

can easily craft different image orientations and

compositions in quick succession.

STANDARD / STORY

Lean into Me


This pose is designed for environmental portraiture where your subject’s whole body is visible. We start with a simple

foundation-focused pose with the bride stepping into the groom. The caveat here is that we ask her to leave her front

leg behind her. This elongates the body. If you ask your groom to slightly dip your bride back, it will also create the

S-Curve that flatters the female form.

I typically will ask the bride to hold onto the groom’s lapel or tie, and ask her to take the arm that is furthest from the

camera, and wrap it around the groom’s head. This will create connection points between the couple in the image.

Remember to ask the groom to stagger his legs a bit so you can see both his feet, and if you can offset their noses so

that they are not pointing directly at each other.

The last step to this pose like all any other used to coach expression out of them. For signature style posing, you may

opt for a more stoic expression. I have found however that images that showcase emotion are typically the ones that

clients tend to purchase.

This is why I am a big believer in variety, if you opt for varying expressions and compositions, you give yourself the

opportunity to sell a portrait that a client might not have otherwise bought.

SIGNATURE

StepInto It


STANDARD / SIGNATUREThe Dip

This is another money making pose. Clients like it,

editors like it, which means as photographers, we

should like it as well.

To execute this pose, first start with the standard.

From there I asked Bride to lift her front leg up and

point her toe.

Ask the groom to grab her leg and slightly dip her

back. From here you can have them look at each

other, or have him kiss her face as she turns her

face to the light source.

While this is an easy pose to execute, it looks best

when the form of the bride’s leg is visible when she

is either wearing pants, or if she is wearing a gown

with a slit in it. This pose doesn’t work if either of

those situations aren’t present.

I have found that this looks best when using a

telephoto lens to compress the background and

put the focus solely on your couple.


Romantic, chivalrous, and classic…..The Princess Carry is a timeless pose that any bride and groom are sure to love. This

pose is simple to do, but you have to execute it quickly.

Ask the groom to life the bride up in front of him. Once he does, have the bride support her weight by wrapping her

arms around his neck.

Details matter here, so make sure that she extends her jawline out and points her toes to eliminate those nasty 90

degree angles that take our attention away from our couples faces.

You can shoot this in any orientation but the images that seem to sell the best in our studio are the tighter, horizontal

versions. This is probably because they fill the frame with the subject and make for an easy to use composition.

When your groom is holding your bride up feel free to vary up the expression and have the couple look at the camera

for a few shots as well.

STANDARDThe Princess Carry


This is a great pose that can show off your groom. Remember, simple objectives when posing your grooms is to make

them feel strong and confident. Place your groom’s back to the camera and extend his arm around the bride.

Ask the bride to embrace the groom underneath his arm and take a lower angle. By getting down lower than eye level

you will make your subjects appear taller.

From here you can now ask your couple to interact with each other. Make sure to close the gap in between the subject’s

faces to keep your composition clean.

STANDARDThe Protector


I love using this pose when a bride has an intricate

gown. On a wedding day, it’s very handy for gowns

that have elaborate backs, or when you want to

show off a hair piece.

We break some rules to do this pose correct, but we

do it for good reasons. First, we are going to ask the

bride to shift her weight into camera by transferring

weight to the leg that is closest to camera. This will

complete the S-curve when shooting from behind.

Then we will offset the groom so we can see him,

and ask her to turn her head and look down at her

shoulder. Make sure you place all of her hair on her

back for this so that none of it is coming through the

opposite side of her face. This will help to define the

jawline.

From here you can have the groom kiss her forehead.

You can vary different expression and gaze points in

order to have a variety of different looks.

STANDARD

Show Her Off


I love using this pose to start a session because it lets the couple get comfortable in front of the camera, and have fun.

The pose works great when a bride is wearing a gown, as long as you can nail the motion, but its much easier to get right

when they are not.

You simply ask the couple to walk toward camera while holding hands…..without letting them know what you are going

to do prior, ask him to “Twirl her around like you are dancing”

They will likely mess this up the first time, but the laughter you get afterwards make for great moments…..try it again

until they get it right.

This will loosen them up in the beginning of your session, and create a great wall collection or album spread to help you

earn a bit more money from the session.

STORYThe Twirl

© 2021 Michael Anthony Studios, Inc.

www.elevateyourphotography.com

[email protected]

Elevate was designed to give you the tools you need

to succeed in photography.

The Couple's Posing Guide - PDF

Documents

Transcript of The Couple's Posing Guide - PDF