I have been shooting plenty of bridal-style model shoots in the last few years. I use this time to evolve my compositions and branding. Yet instead of getting the same style of imagery I compose at weddings, I try to work on concepts and locations outside of traditional wedding arena. Ideas I become passionate about. I still want to retain the 'feel' of wedding photography by using wedding outfits so these images are useful in my own business. Lately I have been studying fashion photography and fashion posing. In fashion there is not a lot of smiling or emotion shown by the model. I think generally this is true because clothing, accessories and makeup are the key elements; models and emotions are secondary. My style lists these ideas in order of importance: composition first and subjects second. I walk into any situation looking and 'seeing' shadows, reflections, leading lines, shapes, storyline concepts, texture and many more compositional elements 'before' I decide model posing. I want to pose the models in line with composition as if they were another element, not just the only focus. But this is my own style. I dare say this style is not as commercial and easily saleable compositional style on the market. I find those that appreciate my compositions and poses and market to them. I also like the fact that fashion models don't smile because I get all the smiling I want or need at weddings!!!         

All of this comes down to fashion posing; my style.

Often the models I get for a couple do not know each other. Asking them to kiss or show some passion is probably not wanted by them and not needed by me. Like I have said before, no need for me to repeat what I already get 'in-spades' at weddings. Some sort of connection between the couple is needed and also some individuality. I have studied fashion posing for couples in many fashion magazines. I like some of the concepts. In the end I drop the magazines and shoot and pose in my own style. I try not to be too influenced by other photographers. To truly create your own style, you search from within.

My fashion posing relates well for my wedding business also. I show more and more fashion-style posing on my website and brides that love that look hire me. Kevin Kramer is a friend of mine and he was a past pro model. He became a wedding photographer and shoots in a fashion-style. His style is very editorial. He also does not want his couples to smile all the time. In fact he shows less smiling couples on his site. Brides that love the fashion-look chose him. That is the perfect match of client and photographer. His site is: http://www.advantagephoto.com/

But it is not just that fashion-style photographers want no smiles, they want attitude on the part of the models. Attitude? That is a little hard to describe. Kevin yells out "give us a little attitude" and for some magical reason most models know what this is: more S-curve their body, exaggerate arm placements and just give us some 'Attitude'! It is their job as pros to know some poses also. Both Kevin and I like our poses to be simple and not too exaggerated. I want them to flow with the composition and not often against it. If I love a leading line I may pose them to follow along with that line. Arm placement along natural or architectural lines, body shape to match backgrounds or mimicking shapes, body motion to add a dynamic feel to fixed compositions, placing models in locations for tonality and contrast differences and more are reasons to practice and play around with ideas and concepts that make your compositions dramatic. This all applies to how the models work together. Creating symmetry and static balance or dynamic balance and counter balance body designs help create harmony or tension depending on desired effect. It is just as important to feel and understand how two bodies interact with each other as how they interact with the other.

Instead of going on and on, let's go visual with the rest of this article. I am going to randomly show imagery that illustrates concepts I use at my model shoots. Remember, these ideas and concepts flow perfectly into my weddings. I generally have at least one hour alone with the bride and groom on the wedding day to create Beckstead-Style art. I do not use fashion the full hour. Often only about 1/3 to 1/2 of that time will I work some of my fashion into the shoot. Yet often my images take on a fashion feel even when I am not posing them at all; probably because I often wrap my clients in compositional elements like a warm blanket yet create dramatic looks.

On this shot I have the model-couple flowing with the curved architecture, mimicking the columns and lines. I created space between the couple and created a connection by having his eyes in her direction and her hand gently placed on his shoulder. I balanced them so the leading lines would a path to them or the couple would create a path to the architecture.

I had the models hold hands for a connection but gave them space so they would be a continuation of shape: from the wagon wheels to each model and then to the barrel.

Here the models seem unrelated in their pose. I created one connection by placing them next to the arms of the graffiti-man.

Here I created a line using the three shapes. I had the groom hold the dress to create a connection.

If you would like a closer connection of bodies between the models, often all you have to do is ask. Most will do it with no problem. I posed their bodies close and created connections with their hands, yet I had them looking away in the same direction.

Here I had her lean up against him (I asked if they were comfortable with the pose), then had them look in different directions to work with the reflection and composition.

I created a connection by having him look at her. I had her holding the hand valve to create a frame and mock the curved lines of the machinery.

I created this pose to work with the room and the ghostly feel of the story-composition. I created connection between them and connection with the room by placing their hands together and her hand on the door.

I had her leaning a little away with the male model pressing in to create a story of mood.

I placed the models away from each other yet created connection with the leading line of the fence. I had him look away with a melancholy style face.

I had them to a straight-on stiff pose to match the outhouse lines and framed them there. This is a slightly humorous pose that is being used more and more by many photographers I know.  Image 12:I had them lean slightly into each other and look at me. Just clothing connects but nothing else.

These two shots were about lines. After finding my composition, I moved the models in to create more interesting elements to add the lines. I pulled them apart to create more lines with their arms.

This shot is to ignore all I have said before and give you a final goodbye smile!!! ;-)

© David Beckstead