 (Click on photos to enlarge) Arms and hands can work beautifully as props. When properly positioned, their ability to add interest to a photograph rivals that of more traditional props. Some of the models I work with require very little guidance from me when it comes to intriguingly positioning their arms and hands. Whether by instinct, skill, or luck, they create wonderful poses almost completely on their own. Unfortunately, most require more direction-sometimes a substantial amount. However, I'm open to trying almost any pose the model comes up with. I've learned that what I don't like initially may actually look wonderful in the photograph. But it's important that my models refrain from any kind of posing that won’t work for my sort of photography. That means nothing relating to glamor or attempts to be realistic (pointing, gesturing as if talking, hand on the chin as if pondering, etc). Rather, I want “unposed” poses-something more natural. Or something offbeat. I demonstrate this by positioning my hands and arms in those ways. As an example, I might pretend I’m mulling over a problem by arranging my hands and arms into an oddball configuration, mimicking what happens when I’m not consciously thinking about them. I acknowledge the unnaturalness and awkwardness of these kinds of poses, and that they are precisely what I want.  To me, this picture reads as someone who's surprised or in deep thought. I think having her hands positioned at different heights on her face makes the image more interesting than if, for example, one were on each cheek.  Usually, when I ask a model to touch her face as part of a pose, she’ll place an open hand, fist, or finger against her cheek. In this instance, I love what Oliana did (totally her idea). Her fingers are lightly touching her face. They’re spread slightly apart, making each one visible. They’re relaxed. But it’s the curve of her fingers, from index to pinky, that I find most fascinating. And, for whatever reason, her expression and hand seem to complement each other perfectly.  Judy’s task was to act scared, which I think she carried off very well. Her left hand adds to the effect. The way it and her fingers are bent show her tenseness. She’s almost clawing at her face. The hand positioning goes a long way to emphasize her feeling of being frightened. FREE T-SHIRT ...when you sign up for a One-To-One Workshop!! This is a Fruit-Of-The-Loom, 98% cotton shirt. It has my absolutely gorgeous logo (see top of page) printed on the front. Available sizes are men's medium, large, and extra-large. These shirts may also be purchased.  Randi’s checking the sky for her bird buddies before flapping her wings to join them. Not really, but it does look that way to me. Her background as a theater major helped inform her poses, which were quite varied and wonderfully odd. I consider this one the best.  The bend and positioning of Ariana’s fingers are unusual. Using her last three fingers, without the first one, to pull the blinds downward is interesting.  I’m not sure what Esther is doing, but it is theatrical and wonderful.  Once in a while, I'll ask a model to hold her hands this way. As you can see, one hand is gripping the other hand’s finger. The pose is probably less common than the more usual hands-folded-together pose, which is why I like it. It’s not necessary that the hands and arms belong to the model. Anyone nearby can provide one or more appendages. I find disembodied limbs within the frame appealing.  Laurette’s smirk! That, along with the tilt of her head and the grasping of her legs, seems to show total contentment. It’s fun wondering what the hand just inches above her is about to do (it belongs to her mother).  Here they are again. I find the gentle and soothing grip Mom has on Laurette to be quite satisfying.  I think this is some wonderful acting. Adeline seems absorbed in thought, oblivious to her arm being yanked by her mother. Adeline not acknowledging that fact helps make the image work.
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