Glamour Seated Poses

1. Alberto Vargas

Image 1: Start seated with the model's left side facing the photographer, turned slightly (maybe 30 degrees) so that the front of the body is clearly visible to the camera. Extend the leg farthest from the camera (back leg) and bring the other foot (front leg) toward the body until it reaches the knee of the back leg. Remember to point the toes, and the weight is on the buttock farthest from the camera. This leaves the front leg free to be adjusted as needed.

This pose creates a line from the toe of the back leg, back to the knee and up the front leg to the head. In this pose the model is using the knee to support the arm, hiding the face for a bit of mystery, to hold a cigarette. You can play with variants on this pose.

2. Alberto Vargas

Image 2: Add a bit of bend to the back leg and lean forward, twisting the upper body toward the camera. Where in Image 1 the body was turned to let the front leg support the front arm, in this pose the front leg supports the back arm. Once again, point the toes and keep the weight on the back buttock. You can play with variants on this pose.

3. Rolf Armstrong

Image 3: Extend the front leg such that the ankle is tucked behind the back leg. This means switching the weight from one buttock to the other. The model will need something on which to lean their arm. Have the model lean forward, resting lightly on the arm. This is a good chance to practice bringing the chin slightly forward to smooth the neck.

There are several things to note in Image 3. First, the hips and shoulders are both tilted to keep the pose dynamic. This compresses the model's right side so either clothing or arm positioning will be required to cover the resulting skin folding.  The hands are folded to create a circle around the chest (shoulders to arms, to hands, back to shoulders.

You can further enhance the face by focusing the lighting on the face, letting the rest of the body be placed a bit in shadow. This is a technique used by classic painters to draw attention to important elements.

4. Rolf Armstrong

Image 4: The model can now swing the knees around, keeping the left leg tucked under the right and pointing the toes. The weight is still on the left buttock, allowing the hips to tilt and stretch the right side slightly. Arms are brought forward to rest together on the chair or left knee. To further enhance the chest, the model can squeeze the the arms together a bit, creating more cleavage.

5. Alberto Vargas

Image 5: The model continues the turn to the left, this time bringing the legs off the other side of the chair. Although it can't be seen in the image, cross left foot over the back of the right ankle to be supported by the heel and point the toes. The shoulder is turn enough to show the back while still allowing the model to turn her head comfortably to look at the camera.

6. William Albartus DeVorss

Image 6: The model swings the upper body back to the right, reaching around to just behind her with her right arm. The right knee is brought up and the left hand is used to keep it in place. This works well if she has a stool with some place to hook her right heel.

The turn of the body opens the chest and creates the asymmetric tilts of the shoulders and hips. The tilt back of the right shoulder tightens the chest, and can be accentuated by having the model slightly tighten the shoulder blades toward each other.

7. Alberto Vargas

Image 7: The knees are now brought together and the model leans forward to place both elbows lightly on the knees. Where Image 6 was more aloof, Image 7 is more engaged, indicating a more active interest in the viewer. Note that the head position also shifts to re-enforce this: in Image 6 the head is tilted slightly back so the model is looking "down" on the viewer, evaluating them. In Image 7 the model's face is square to the viewer. Also note that the head, unlike in many poses here, is vertical. This is a static position, used in this case to "lock" the gaze on the viewer. The entire focus goes to the eyes, aimed directly at the viewer.

8. William Albartus DeVorss

Image 8: The model moves the legs to their right, bringing one up to be held by the hands. This pose works best if using a stool with something in which the model can hook their heels. The arms are relatively straight, but the overall effect is a slightly curved line from the face down to the toe.

9. William Albartus DeVorss

Image 9: The right leg is now brought up under the left knee, keeping both toes pointed. The right arm is brought up so that the model can gently rest their head on the arm. The left hand is brought up to be placed just under the right hand. The overall effect is a slightly curved line from the head to the toe.

10. Rolf Armstrong

Image 10: The head is brought up, the right elbow moved slightly toward the body, and the left arm is extended to rest on the chair. The chin is slightly forward and the body tilted to accentuate the chest.

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