Most clients aren’t models. They arrive with a mix of curiosity and self-consciousness, and they look to the photographer not just for camera skills but for calm direction. The trick isn’t memorizing dozens of poses — it’s learning how to prompt movement, shape posture, and hold space so people relax into themselves. When the experience feels easy, the photographs feel natural.
Start before the shutter. Pre-session priming sets tone. I send a short note the day prior: what to bring (lint roller, water, a simple coat), what to expect (gentle direction, breaks), and what I’ll handle (light, location, pacing). This removes guesswork and lowers anxiety. On set, I begin with a two-minute chat away from the camera. The message is consistent: “You don’t need to know what to do — that’s my job. I’ll lead, you’ll feel guided.” Confidence is contagious.
Anchor posture to the spine. Instead of “stand straight,” try “grow tall from the crown of your head, then let your shoulders melt down.” People lift chins when asked to stand tall; the crown cue lengthens the neck without strain. Next, small weight shifts change everything. “Put your weight on your back foot, let your front knee soften.” Immediately the body opens, and the line of the hip becomes more elegant.
Use the triangle. Chin, shoulders, and hips form your primary angles. Ask for a slight turn of the torso away from camera and bring the face back toward light. This creates a gentle S-curve through the body. A micro-tilt of the forehead forward (not the chin up) reduces nostril visibility and tightens the jawline. Think of nudging dials, not levers — two degrees beats twenty.
Hands tell stories. Claw-like hands ruin otherwise beautiful frames, so give hands a task. “Pinch your sleeve, adjust your ring, brush hair behind the ear, hold the jacket at the lapel.” Props help but aren’t essential; pockets are your best friend. For women’s garments without pockets, an almost-there clasp of the thumb to the forefinger relaxes tone without limping hands into the frame.
Prompt movement, then catch the in-betweens. Most “poses” are just pauses in motion. I use a three-beat method: action, action, settle. “Take two small steps toward me, slow, then settle on your back foot.” “Turn to the window, breathe in, then look back at me.” The settle holds the most authentic micro-expressions; that’s when you shoot. If someone freezes, restart with a tiny task: “Exhale slowly and think about someone you like.” It resets the face.
Eyes communicate more than smiles. Rather than “smile,” try “soft eyes” or “smile just with your eyes.” To create engaged gaze, give a visual target. “Look at the top of the lens,” “look at the bright spot in the sky,” or “find that line on the wall.” For introspective images, ask them to close their eyes and breathe out; have them open on your count. Those first two seconds are magic.
Chairs are hidden posing machines. Sit your subject slightly sideways, weight on the back hip, front foot slightly forward, heel down to ground the pose. Ask for a long spine and a hinge at the hips to bring the sternum toward camera — a subtle lean engages the core and cleans the jawline. Rest an elbow on the back of the chair for a confident profile or fold hands gently in lap for calm.
Wardrobe and environment shape behavior. Coats, blazers, and scarves add action and structure. Long sleeves remove hand anxiety; a belt provides a place to rest hands. Architecture provides anchors: lean on a wall with one shoulder, slide a hand along a railing, sit on a step with asymmetrical feet. Put the subject in a spot that suggests a verb and they’ll do it naturally.
Language matters. Swap corrections for invitations. Instead of “don’t hunch,” say “let’s lengthen the space between ear and shoulder.” Instead of “chin up,” say “bring your forehead slightly forward.” Use “Let’s try” and “What if” to frame experimentation. People protect themselves under critique; they open under curiosity.
Work in micro-sets. Aim for ten to fifteen frames per setup, then pivot. Change one variable at a time: head angle, hand task, stance width, or wall distance. This keeps energy fresh and avoids overfiddling. I often set a soft timebox in my head: ninety seconds, change something. A quick location shift or a new prop can rescue a stuck moment faster than more talking.
Manage the jaw and mouth. Tension hides in teeth. “Gently place your tongue on the roof of your mouth” relaxes the jaw. “Take a slow exhale out of your lips” softens the mouth shape. For a smile that reads true, crack a joke about the process itself; meta-humor beats compliments for authentic laughs. And show the back of the camera occasionally — nothing calms nerves like seeing that it’s working.
Finally, protect dignity. If a prompt isn’t landing, move on without comment. Never force someone into a shape that feels unlike them. The best direction is collaborative: you suggest a path, they walk it in their way. When the subject feels seen, the camera becomes a friend, not a judge — and that’s when the portrait becomes honest.