Poses in this book were created to combine in each set a

mixture of classic, fun, and contemporary styles.

Every image has been created by Princess Photographers

with actual passengers, sailing on our vessels, and no
models were used.

Our goal is to provide a wide range of photographic op-

portunities to our passengers and increase our efficiency
so that lines move quickly, yet we still offer an excellent
passenger experience.

This allows passengers the chance to visit several studios

experiencing a wide range of different poses and images,
from which it is very difficult to pick just one.

These pose sets can be used on formal and casual dress

evenings, and you should pick one set or be assigned
one set for the entire night.

If every studio photographer offers poses from a different

set we can ensure our passengers are offered a large
variety of different poses, in differing styles.

Although these poses are shown on a wide variety of dif-

ferent backdrops, they are not limited to that one location
and can be used almost everywhere.

The flow of these poses were also created with the gentle-
man in mind, so that they have the easiest and least
complicated directions, allowing for a more enjoyable
experience.
Although some of these poses are easier than others for
individual passengers, each set can be used on more
than 90% of all passengers that visit your studio.

These poses have been shown in a recommended order

that allows a flow of movement to make the poses easier
and faster.

This allows you to concentrate on the great experience

you are creating for our passengers and allows you to be
a great host, while increasing image counts, quality, and
revenue.

Women should be placed on the left (your right) where

possible, showing off wedding and engagement rings.

Gentlemen are positioned for the single portrait first as it is

often difficult to persuade them to return for more photo-
graphs once they have stepped out of the studio.

You are in charge, you are in command, you are the

expert, and our passengers have visited the studio for
your professional skills.

Be assertive, they will look to you for guidance and they’ll

do almost everything that you ask them to, if you have a
smile in your face and voice.

Be yourself, have a good time, make your passengers feel

unique, and don’t forget to enjoy what you’re doing.

Sofia Soares
4
Start with the man and ask him to sit, straddling the stool,
like a horse or a motorbike. Sit the woman facing the
same direction, with their bodies close together at a 45
degree angle to you, position heads close together, but
not touching.

5
Put his hand on her arm. Pay attention to the details, look
for the mans shirt cuff and cuff link if possible. Mans
fingers should be closed and thumb down.

6
Ask the woman to look at the man and put her right hand
on the side of his face. Its great for hiding creases and
wrinkles. Ensure her hand does not cover his face, and
keep fingers close together. Tilt your camera towards him
to finish the effect

7
Turn the woman’s body towards him, and ask them to put
an arm around each others back. They should then hold
each others hand in front. The woman’s hand should be
on top of the mans. Tilt their heads towards each other.

8
Tell the woman to step aside, but the man to remain in
position for the single.

9
Bring the woman back for her single portrait, ask her to
face the opposite direction of the man. She can sit on
his stool. On this whole set you don’t need to remove
the stools for any pose, so its a fast set. Just adjust seat
height up and down.

10
11
Start with the man and ask him to sit, straddling the stool,
like a horse or a motorbike. Then put another stool close
to him and sit her down. Position bodies close together,
body angle still 45 degrees, heads close together.

12
Ask them to turn back to back, bodies still on a 45 degree
angle, shoulder to shoulder, heads leaning closer to each
other.

13
Ask the woman to stand up, but you don’t need to remove
the stool. Turn the man to his original position, pose the
woman behind him. He leans towards her and she leans
over him, hands on his chest.

14
Bring his hand up and over to hold hers. Tilt the camera to
your right side for this effect and go closer to them than
the previous image.

15
Tell the woman to step aside, but the man to remain in
position for the single.

16
Bring the woman back for her single portrait, body facing
in the opposite direction.

17
18
This set is shown with a posing table, but it can be done without.
Start by sitting the couple at 45 degree angle, man straddling
the stool, hands behind their backs, hands in front on the table
together, hers on top to show the ring.

19
Rotate the woman on the stool, body angles are the same,
put his hand on her arm. This is great for hiding a larger
sized arm.

20
Now rotate the man on his stool so they are now back to
back. Step in closer to compose the image tighter than
the previous pose.

21
Rotate the woman on the stool and put her hand on his
shoulder, fingers together. Ask him to lean his shoulder
towards her a little, and ask them to look in each others
eyes.

22
Tell the woman to step aside, but the man to remain in
position for the single.

23
Bring the woman back for her single portrait, body facing
in the opposite direction.

24
25
This is a very easy set, very fast, and great for beginners.

These poses are not so much about the pose itself, but
to help them perfect their consistency, head centering,
headroom, speed, and important detail in the image.

Stand the couple on the mark on the floor, bodies at 45

degree angles to each other. One hand behind each oth-
ers back and the other hand in the front together. Place
the woman’s hand on top to show off the ring. Lean their
heads close together but not touching.

26
Ask them to remain in the same position and step one big
step closer and do the same pose as a vertical.

27
Ask the man to put his right hand in the trousers pocket
and woman put her hand on his heart.

28
Take one step forward and do a tighter image

29
Tell the woman to step aside, but the man to remain in
position for the single.

30
Bring the woman back onto the floor mark facing the
opposite direction and take the single portrait.

31
32
Pose the couple facing in the same direction, mans hand
on woman’s arm. Keep his fingers close together and
thumb down. Push her right shoulder down a little to move
their heads closer together without him having to lean in
too much.

33
Rotate the man for a back to back image. Larger people
can do this without folding their arms.

34
Move the woman to his opposite side. Bring her arm
around his shoulders and his right shoulder will fit under-
neath her armpit. Put her other hand on his chest. If the
man is too tall, you can shoot this sitting down, or ask him
to bend his knees down a little. Step closer for the shot.

35
Keep the pose the same but now you just have to tell
them to look at each other and almost touch noses. Step
closer for a tighter image and be ready to catch the
moment as this always produces a natural smile. Some
persuasion is required to get them really close.

36
Tell the woman to step aside, but the man to remain in
position for the single.

37
Bring her back to the mark on the floor face her the op-
posite way and take her single portrait

38
39
You can choose to put his hand in the trousers pocket or
just relax by his side. Place her hand in the center of his
chest.

40
The pose remains the same, just ask them to look into
each others eyes. If he is too tall ask him to bend his
knees to lower him a little. Move one big step closer for a
tighter image.

41
Ask him to turn around and cross his arms, ask her to
place one hand on his shoulder and one on his arm. Tell
him to lean close to her. If the man is tall, you may need to
ask her to stand on her toes.

42
Tell her to look at him, she needs to have a big smile for
this image.

43
Tell the woman to step aside, but the man to remain in
position for the single.

44
Bring her back for her single portrait, face her the oppo-
site way.

45
46
Sit the man down, and stand the woman behind and to
his right side with her hands on his shoulder. Lean her
head in towards him, but not too close as to create a
shadow.

47
Move the woman around to his other side and again place
a hand on the shoulder. Be careful with her body angle
and position she can’t be too far back or too forward.

48
Keep the couple in the same pose and just step closer to
them, tilt the camera to create an angle, the tilt is always
towards to tallest person, in this example, that’s her.

49
Now ask them to look into each others eyes and step
closer. Tilt the camera towards the tallest person, you can
choose to crop a little of their heads to get a really tight
crop.

50
Final image for him is the single portrait. Keep him sitting
down, you don’t need to move him at all.

51
To keep your line moving fast just ask the woman to sit on
the stool facing the opposite direction.
Your stool remains in the same position for the entire night,
just needing adjustment up and down.

52
53
Easy set for beginner or for very busy location. If you are
shooting a theme backdrop you can replace one of the
vertical images into an horizontal.
Place the couple for the classic holding hand in front and
the other around each others back.

54
Use the same pose just step closer, ask them to lean their
heads closer together, but not touching.

55
Same position, just ask him to put his hand in his trouser
pocket and her to relax her hand down by her side. Since
they didn’t move from the first image there isn’t detail to fix,
step back for this shoot.

56
Ask the guy to remain in the same position and turn the
woman around hands in front of her. On this pose you can
choose to place his hand on her arm depending on your
preferences or in this case her dress didn’t allow it.

57
You have him in position for his single portrait so just ask
the woman to step aside, he doesn’t have to move at all
for the entire set.

58
Bring the woman back for her single portrait, body facing
in the opposite direction.

59
60
This set is a very fast and easy. Place the couple on the
mark classic holding hands in the front, they are not going
to move position for the next three images so make sure
you finish each image by saying “stay as you are”.

61
Ask her to place her hand on his hear. His hand can be
in his pocket or by his side. Take one step closer for this
shoot.

62
Step closer than the previous image. Tell them to look at
each other and move closer and almost touch noses.
Persuade them to move closer and their natural reaction
is to smile, so be ready to catch the natural moment. Tilt
camera towards tallest person.

63
Turn the woman the other way and place hands in front.
Place his hand on her arm, tilt her right shoulder towards
him you can do a more loose image.

64
Use his previous pose for the single portrait, just tell him to
stay as he is.

65
Bring her back for her single portrait, facing towards the
opposite direction.

66
67
Ask the man to straddle the stool then place the woman
in front. Turn his right shoulder towards the woman, put his
hand on her shoulder, place her hands down on her lap.

68
Same pose, just have them to look into each others eyes.
Step in much closer for this image

69
Bring the woman behind him for this image. He tilts his
left shoulder towards her and she tilts her right shoulder
towards him, and this helps to bring their heads closer
together. If you are shooting a theme backdrop this could
also be a horizontal image.

70
Turn him towards her, place both her hands on his shoul-
der. Lean her forward just enough so there’s no shadows
on the face and their noses are on the same focal plane.
His left hand is behind her back.

71
The woman stands aside, the man stays the same, but
tilt his right shoulder down. This makes his shoulders look
wider.

72
In this example the woman’s single image is with her
standing up, but this takes additional time by removing
stools out of the way, so have her sit down on his stool
during busy times.

73
74
This is a great set, very fast good for busy locations. You
need two posing stools but don’t need to remove her
stool at all when she stands up because you’re cropping
the image so that it will not show.

Start by placing the stools on the mark on the floor, they

will just need to be adjusted up or down depending on
passenger height. Have the man to sit down first strad-
dling the stool. Then sit her in front of him with her hands
on her lap his hand covering her arm.
In this example there’s a theme backdrop so this is a
horizontal image, if it was a plain backdrop replace with a
vertical.

75
Rotate her on the stool towards him, just like the classic
standing pose with holding hands in front.

76
Leave the stool where it is and stand her behind and to
the side of him.

77
Turn the woman around and do a back to back. You might
have to play with the height of the stools depending on
the passengers, or ask her to bend her knees a little to
lower her down.

78
Great set for him because he didn’t have to move at all.
Just ask her to step aside, get his single portrait

79
Bring her back to sit on his stool facing the other direction.

80
81
Easy and fast set, start with classic holding hands in front.

82
Move one step closer for this image, place her hand on
his heart.

83
Turn the woman around, place the mans hand over her
arm, fingers close together, thumb down.

84
Turn them both around, he leans his shoulder towards her,
if he is too tall he can bend down on his knees a little.

85
Get his single first, hand in the trouser pocket.

86
Bring the woman back for her single portrait, body facing
in the opposite direction.

87
88
Fast set for busy location.

Start by asking the man to straddle the stool then sit the
woman.

This image is horizontal because of the theme backdrop, if

you had a plain backdrop you would do this vertically. You
could put her hand on his chest over his heart for variety.

89
Same pose you just go one step closer.

90
Same pose, just add her hand on his chin.

91
Stand her up, and move behind. Don’t concern yourself
with the stool she was on, leave it then crop closer to
remove from the image. Tap his left shoulder down so they
can lean their heads closer together.

92
The man remains still throughout the session, get his
single portrait first.

93
Then her single portrait. She sits on his stool facing the
other direction.

94
95
Start with the horizontal image to show the backdrop.
Classic holding hands in front.

96
Then the same pose in vertical.

97
Turn him around, if he’s much taller than her, bend his
knees to lower him down or have him sit. Careful with this
pose she tends to hide her face behind him.

98
Turn her around for a back to back. The crossing of arms,
even on a formal night turns the image more contempo-
rary.

99
The single can be shot standing or sitting, taking advan-
tage of the previous pose for speed.

100
Bring the woman back for her single portrait, body facing
in the opposite direction.

101
102
Start with the standard side by side horizontal, place them
holding hands in front, or depending on the look of the
hands, by their sides.

103
Take the same pose in vertical.

104
Turn her back towards him, and hands in front. Mans hand
can be placed in his pocket or covering her arm

105
Sit him down for another standard pose.

106
Stand him up if you wish for his single portrait, or you
could take advantage of his previous pose for increased
speed.

107
Bring the woman back for her single portrait, body facing
in the opposite direction.

108
109
They are both sitting down, he is straddling the stool
behind her. he should be the first to sit down.

110
From the same pose they just look at each other.
You move in two steps closer for this cropping.

111
Stand her up behind him, leave her stool in same place.

112
Ask him to stand up, and at this point you remove both
stools to the side.

113
You can choose to do a more contemporary image just by
asking him to cross arms.

114
Hand on the hips makes the portrait look more contempo-
rary and women love the look.

115
116
They are both sitting down, he is straddling the stool
behind her, he should be the first to seat down.

117
From the same pose they just look at each other.
You move in two steps closer for this cropping.

118
Classic hands in front, they are standing up.

119
Same pose, the leaning effect is created by tilting the
camera towards the tallest person, (HER).

120
A contemporary style just by folding his arms, attention to
detail is important, like sleeves or folded jacket.

121
You can ask the woman place her weight on the foot
closest to you, with hand on hip.

122
123
They are both sitting down, he is straddling the stool
behind her, he should be the first to sit down.

124
From the same pose they just look at each other.
You move in two steps closer for this cropping.

125
Classic hands in front, they are standing up.

126
She turns her back towards him, he places his hand to
hide her arm, fingers together, thumb down. You can also
put his hand in his trouser pocket.

127
A contemporary style just by folding his arms, attention to
detail is important, like sleeves or folded jacket. He is also
leaning towards you.

128
You can ask the woman place her weight on the foot
closest to you, with hand on hip.

129
130
They are both sitting down, but you can also stand the
woman behind. Just turn it into a more contemporary style
by asking him to fold his arms. His left shoulder leans into
her.

131
Stand them up for the classic holding hands in front.

132
Keep the previous pose they don’t need to move, just
move yourself very close and ask them to look into each
others eyes..

133
Her left shoulder leans towards him so they can get
the heads close together. His fingers should be close
together and thumb down.

134
Get his single first.

135
Ask the woman to put her left foot forward and lean on it.

136
137
Start with classic holding hands in front.

138
Move two steps closer on the same pose. Move their
heads closer together, but watch for possible shadows on
the face.

139
Turn her around and she hold her hands in front. He puts
his hand over her arm, fingers together, thumb down.

140
She stays still, and the man turns his back to her. She can
keep the previous pose or they both can cross their arms.

141
He stay still for his single portrait.

142
Bring the woman back for her single portrait, body facing
in the opposite direction, hands crossed in front.

143
144
Start by sitting the man straddling the stool, sit the woman
in front, control the heights of heads by the stool height.

145
She turns and places her hand on the side of his face,
great for hiding creases and wrinkles.

146
The posing stools are great because they rotate, so just
spin the woman all the way around to face him, and move
their hands behind each others backs.

147
The woman just moves to his other side without you
having to move the stool. Both of their shoulders leaning in
towards each other.

148
If you have time you can lie the second stool on the floor
for him to put his foot on, then rest his arm on his leg.
Otherwise a regular sitting single will work.

149
She then returns and takes his place on the stool. The
stools are still in place for the next couple.

150
151
This set needs two stools for the duration of the session.
Start with him straddling the stool and she sits in front
leaning her shoulder towards him.

152
She then turns on the stool and they hold hands in front.

153
Bring her left arm all the way over his neck, like a hug, and
the right hand on his chest, She will lean back a little and
he leans forward. Move in very close for this tight cropped
image.

154
He remains in position but the woman stands and moves
around. Start by leaning his left shoulder towards her first,
then she leans her upper body towards him. This avoids
giving the man a slouching position.

155
He doesn’t move his position at all, the shoulder is still
leaning down.

156
She is sitting on his stool. Both stools are still in the same
place, ready for the next couple.

157
158
You need two posing stools for this set, and once you
place the stools you wont have to move them for the dura-
tion of the session. Start with him straddling the stool, then
sit the woman leaning back onto his chest.

159
Rotate her around on the stool for the classic holding
hands in front.

160
Now tell them to look into each others eyes. His right hand
holding her chin, they have to be really close together, her
back straight and he’s leaning in towards her.

161
Then just have them look at you.

162
She moves out for his single portrait, leave her stool in
place.

163
Bring her back to sit, leaning backwards to avoid slouch-
ing and lengthening the body shape

164
165
This next couple are a great example of older people
being able to do what you want them to, and as they have
done a lot of cruising they are more open for new types of
portraiture.

166
Bring her left arm all the way over his neck, like a hug, and
the right hand on his chest, She will lean back a little and
he leans forward. Step in very close for this tight cropped
image.

167
Now he holds her chin and her hands are around his
back.

168
The man remains in position and the woman stands and
moves around behind. On this back to back start by lean-
ing his left shoulder towards her first then she leans her
upper body towards him.

169
His shoulder is still leaning down.

170
Then the single of the woman facing the other direction.

171
172
Start by sitting him and folding arms. His stool is at its low-
est setting. Seat her behind, but her stool is at the highest
setting. His right shoulder is leaning down so they can
move their heads close together.

173
Bring her stool all the way down and he straddles her
stool, body facing towards her.

174
Bring her left arm all the way over his neck, like a hug, and
the right hand on his chest, She will lean back a little and
he leans forward. Step very close in for this tight cropped
image.

175
Now his right hand holding her chin, and they have to
be really close together. His back straight, but leaning in
towards her.

176
His left shoulder is leaning down.

177
And her single with the body facing the opposite direction.

178
179
Start by sitting him and folding his arms, his stool is all the
way down Sit her behind with her stool is all the way up.
His right shoulder is leaning down so they can move their
heads close together.

180
Bring her stool all the way down and he straddle her stool.

181
Bring her left arm all the way over his neck, like a hug, and
the right hand on his chest, She will lean back a little and
he leans forward. Step very close in for this tightly cropped
image.

182
Just keep the body position, ask them to look into each
others eyes and bring their noses closer together.

183
His left shoulder is leaning down.

184
And her single with the body facing the opposite direction.

185
186
He sits, and usually the stool is at its lowest setting. This
allows her to lean in and place her head next to his.

187
Place her behind to lean on his shoulder. In this case
she’s too tall, so sitting was the best option. His right
shoulder is leaning down.

188
From the same pose they look at each other.

189
Stand them up for the next pose, with his hand on her
shoulder or arm. Heads very close together.

190
He’s folding his arms and leaning his shoulders towards
the camera.

191
And the same for her, just with her body facing the op-
posite direction

192
193
You need just one posing stool for him, she rotates around
him creating a nice easy session for him. Sit him down
with his right shoulder leaning closer to her.

194
She moves to the opposite side, he leans his left shoulder
towards her. When you have larger passengers they need
to be positioned with a little gap between them. This allows
them the space to lean closer in with their upper bodies,
to create the composition required.

195
He rotates on his posing stool and her arm goes around
his back. His left shoulder leans towards her.

196
Bring her hand onto his neck covering lines and wrinkles,
make sure the hand doesn’t cover the face. She leans in
closer to him with her upper body. Step in really close for
this tightly cropped image.

197
He keeps the same position while she steps aside.

198
She sits on the posing stool facing the opposite direction

199
200
By putting her hand on the hip, we are turning this image
into a more contemporary portrait for younger people.

201
Return to the more standard type of pose by holding
hands in front. All sets should have a mixture of classic
and contemporary poses.

202
Now sitting. His stool is all the way down and her’s all the
way up. She sits just on the edge of the stool and leans in
towards him. He folders his arms, tilts his shoulder towards
the camera, but leans backwards towards her to avoid
slouching.

203
Step closer in for a tighter cropped image. This pose
works best when she’s smiling a large smile at him.

204
Keep everything as they are just step her to the side.

205
You can either choose to remove stools out of the way
and have her standing up or seat her down, depending
on how much time you have.

206
207
This set will need just one posing stool for him. In this set
he doesn’t have to move during the session. Lean his right
shoulder down while she leans in from the side.

208
While he folds his arms, she turns around and leans her
upper body back towards him, resting on his shoulder.

209
The woman changes sides and he tucks his left arm
under her right shoulder. They both lean towards each
other.

210
Step closer in for a tighter cropping.

211
He’s already in position for his single.

212
Then she sits on his seat, facing the opposite direction.

213
214
Place the couple on the mark, and start with a classic.

215
Step closer for a tighter cropping, she puts her hand over
his heart. If the hand is too close to the shoulder it can
look like she is pushing him away.

216
She turns around and leans back onto his chest. He cov-
ers her upper arm with his hand. Fingers together, thumb
down.

217
Add the contemporary in the end, crop in close and tilt
camera towards tallest person (HIM).

218
His single first.

219
Bring the woman back for her single portrait, body facing
in the opposite direction.

220
221
This set of poses are good for both Casual and Formal
nights. By putting her hand on the hip, we are turning this
image into a more contemporary portrait.

222
Take advantage of your backdrop and shoot the same
pose in a vertical.
In case you have a plain backdrop just replace the pose
with another, like holding hands in front.

223
Bring the her onto the other side to do a back to back.

224
Turn him around have him put his hand over the woman’s
arm.

225
Then his single.

226
Then hers facing in the opposite direction.

227
228
Another set where he doesn’t have to move at all. This set
can also be done in a formal night.

Start with a contemporary feeling by putting hand in

pocket for him and hand on hip for her.

If you’re shooting a plain backdrop than this image would

be a vertical.

229
Take advantage of your backdrop and redo it in vertical.
In case you have a plain backdrop just replace the pose
with another, like holding hands in front.

230
The woman moves around to the other side. She can
stand up on her toes or he can bend his knees if the
difference in height is too large.

231
Then she turns for a back to back image. For larger
people the hands should be down by their sides.

232
Followed by his single first.

233
Bring the woman back for her single portrait, body facing
in the opposite direction.

234
235
This set of poses are good for both Casual or Formal
nights. By putting her hands down, we are turning this
image into a more classic portrait.

236
Then she turns in for a more contemporary style.

237
Then have them look into each others eyes and bring the
noses closer together.

238
The woman then puts her arms around his shoulders. If
he is too tall then he could bend his knees or she can
came up onto her toes. Come in much closer for a tighter
cropped image. Tilt the camera towards tallest person.

239
Fold the arms and rotate his shoulders towards the
camera to give the effect of wider shoulders and a more
masculine pose.

240
Women that have slim bodies can put their hands behind
their backs.

241
242
One posing stool for this set.

243
For the next pose ask them to look into each others eyes
and ask her to put her hand on her hip. If you are shooting
on a theme backdrop you can turn this image into an
horizontal.

244
Move the woman onto his other side and slightly behind.
Tilt his left shoulder down and he leans back towards
her. She leans in towards him so their heads are closer
together.

245
The man now rotates on the stool towards the woman.
Place her hand on his chest. Tilt camera towards the
tallest person and move in closer for a tighter cropped
image.

246
He remains seated for his single portrait.

247
Bring the woman back for her single portrait, body facing
in the opposite direction.

248
249
He sits first and the she moves in from the side. He
leans his shoulder towards her so their heads are closer
together. Control the distance between their heads by the
stool height.

250
You can also turn this image into a vertical by placing one
of her hands on her hip. If the woman doesn’t want to
show her hands, then put her left hand behind his back
and her right hand by her side.

251
The man remains in place but the woman moves to the
other side. One hand behind his back and the other on
his chest. Tilt camera towards tallest person, move closer
in for a tighter crop.

252
For the next pose she moves the hand off his chest onto
the side of his face, and ask them to look into each others
eyes. Step in much closer for a much tighter crop.

253
He remains seated in his position for his single.

254
Bring the woman back for her single portrait, body facing
in the opposite direction.

255
256
This set requires a posing table and two posing stools.
Sit the woman at the lowest setting on the stool and at the
side of the table. The man sits behind the table leaning
forwards.

257
The bodies stay in the same position, just make them look
at each other and place her hand under her chin. Step in
closer for a tighter cropped image. Apply a small camera
tilt.

258
The woman now stands and he points his left elbow
towards the center of table. He leans back against the
woman’s chest and she leans her upper body in towards
him.

259
Move the woman to the other side of the table and sits on
his knees. Ask the couple to hold hands in front.

260
The man is already in position for his single.

261
Sit her with her elbow leaning pointing towards the cam-
era, and her hands closer to her body.

262
263
This set requires a posing table and two posing stools.
Sit the woman at the lowest setting on the stool and at the
side of the table. The man sits behind the table leaning
forwards.

264
For the next image ask them look at each other, move in
closer for a tighter cropped image. Tilt the camera towards
tallest person, but just a little.

265
Bring her stool behind the table and have them hold
hands in front.

266
She now turns her back towards him. Her elbow points
towards the camera and her hand placed under her chin.
Depending on the man you can keep the hand on the
table or place beneath.

267
The woman steps out for the mans single portrait.

268
The woman returns for her single portrait with her body
facing the opposite direction.

269
270
This set requires a posing table and two posing stools.
Sit her on the lowest stool setting on the side of the table.
He’ll sit behind the table leaning forward towards her.

271
Same body positions just ask them to look at each other.
Her hand goes under her chin, step in closer for a tighter
cropped image. Tilt camera towards tallest person but not
to much.

272
Move her stool behind the table and have them holding
hands in front, the hands are close to the body and they
point the elbows towards you.

273
Just rotate their posing stools for this back to back image.
Again the their elbows are pointing towards you.

274
The man remains in position for his single image.

275
The woman returns for her single portrait with her body
facing the opposite direction.

276
277
You need a posing table and two posing stools. Start with
holding hands in front, the hands are next to the bodies
and the elbows point towards you.

278
The woman rotates on the stool and crosses her hands
on the table. The mans hand is behind her arm, but the
mans hand can also be placed over her arm.

279
For the next pose the body positions remain the same but
they just look into each others eyes.

280
She then stands behind and to the side. Adjust the stool
height to place their heads as close as possible.

281
The man remains in position for the single portrait.

282
The woman returns for her single portrait with her body
facing the opposite direction.

283
284
This set requires a posing table and two posing stools.
Sit her on the stool at the lowest setting at the side of the
table. He’ll sit behind the table leaning forward towards her.

285
Same body position, just ask them look at each other. Step
in closer for a tighter cropped image.

286
She spins on the stool so her back is towards him. She
leans on the table, puts her hand under her chin, and he
leans in.

287
Keep her on the side of the table just rotate her on the
stool. Elbows point towards the camera and the hands are
close to the body.

288
He didn’t have to move trough the session.

289
The woman returns for her single portrait with her body
facing the opposite direction.

290
291
This set is an example of how you can make the stairs
photograph just a little different.

292
Turn the same pose into a different looking image just by
turning it into an horizontal.

293
Turn her around, her back towards him. Make sure her
forward foot is pointing towards the camera.

294
Step the woman up the stairs one step and she stands
behind the man slightly while he angles his leg and puts
his hand on top. His left shoulder tilts towards her to bring
their heads closer together.

295
He remains in the same pose, just tell him to move to-
wards the middle of the staircase.

296
The woman returns for her single portrait with her body
facing the opposite direction. Make sure her front foot
points towards the camera.

297
298
This set shows how the difference in heights can turn the
stairs into your favor since you cannot sit him down on a
stool as in a regular backdrop.

299
Start with the standard poses.

300
Bring the woman one step up, standing right at the edge
of the step so they can have their heads leaning closer
together, he has to lean towards her too.

301
Step the woman back down the stairs and she stands
with her back towards the man. The man angles his leg
and puts his hand on top. His left shoulder tilts towards
her to bring their heads closer together.

302
Just tell him to move towards the middle of stairs keeping
the same position.

303
Its very important that on full length images the woman’s
foot point towards you.

304
305
These Christmas poses are done with a real tree placed in
front of the tree painted on the backdrop, a chair from the
Wheelhouse Bar and some cardboard boxes wrapped in
Christmas paper.

Sit her on the edge of the chair and he sits on the armrest
of the chair.

306
Use the same pose for the vertical image.

307
The space between the tree and the chair is enough for a
person to stand, don’t forget that you can always move the
branches of the tree out of the way.

308
Don’t show to much of the empty chair, you can always do
this image in vertical or put the couple on the left side of
the frame and show more of the tree.

309
Don’t show too much of the empty chair.

310
Don’t show too much of the empty chair.

311
312
These Christmas poses are done with a real tree placed in
front of the tree painted on the backdrop, a chair from the
Wheelhouse Bar and some cardboard boxes wrapped in
Christmas paper.

Sit him on the edge of the chair and she sits on the
armrest of the chair. She leans in so that her face is in the
same focal plane as his.

313
Use the same pose for the vertical image.

314
She leans her right arm on the rest of the chair, and swap
him to sitting on the armrest. You can also do a vertical
image of the same pose

315
He stands up between the tree and the chair, and she sits
on the armrest of the chair.

316
Don’t show too much of the empty chair.

317
She sits down on the edge of the chair.

318
319
The flowers don’t give you a lot of opportunities to be
creative but there are some different poses that you can
do. It is also a location where you have to spend extra time
to make sure that everything is centered.

320
The woman’s foot closest to you should always point at
you. Pose your couple for the first image and take as
much advantage as you can from that pose by changing
small detail like hands to maximise speed.

321
When you move her around make sure that the couple is
still in the middle of the flower pillars.

322
You can do a back to back to turn it more contemporary.

323
When alone the person should always be centered in-
between the pillars.

324
When alone the person should always be centered in-
between the pillars.

325
326
The flowers don’t give you a lot of opportunities to be
creative but there are some different poses that you can
do. It is also a location where you have to spend extra time
to make sure that everything is centered.

327
The woman’s foot closest to you should always point at
you. Pose your couple for the first image and take as
much advantage as you can from that pose by changing
small detail like hands to maximise speed.

328
Keep the same pose but switch to a horizontal image.

329
When you move her around make sure that the couple is
still in the middle of the pillars.

330
When alone the person should always be centered in-
between the pillars.

331
When alone the person should always be centered in-
between the pillars.

332
333
The flowers don’t give you a lot of opportunities to be
creative but there are some different poses that you can
do. It is also a location where you have to spend extra time
to make sure that everything is centered.

334
The woman’s foot closest to you should always point at
you. The fastest way to do it on a busy formal is to pose
your couple for the first image and take as much advan-
tage as you can from that pose by changing small details
like hands.

335
Another way to change details and still keep them in the
same original position is do the image as a horizontal.

336
Have them to look at each other, this pose works well in a
close up on a backdrop but here this is as close as you
can go.

337
When alone the person should always be centered in-
between the pillars.

338
When alone the person should always be centered in-
between the pillars.

339
340
This set is a standard poses for flowers. Recommended
for first formal night.

341
The faster way on a busy formal is to pose your couple for
the first image and takes as much advantage as you can
from that pose by changing small details like turning the
same image horizontal.

342
The woman’s foot closer to you should always point at you.
Take as much advantage as you can from the initial pose
by changing small detail like hands.

343
On this set the couple don’t move much, so you just
spend time placing them in the center from the start. As a
result this is a very fast set for first formal night.

344
When alone the person should always be centered in-
between the pillars.

345
When alone the person should always be centered in-
between the pillars.

346
347
You need two posing stools and a rose from the onboard
florist. This set is a regular sitting down set with the addi-
tion of a rose.

348
On the same pose just add the rose for the woman to
hold, tilt the rose towards her shoulder.

349
Rotate her on the stool, left arm around his neck, like a
hug. Her right hand is placed on his chest over his heart,
while holding the rose.
Tilt the camera towards the tallest person.

350
Now move their heads closer together. Step closer for a
tighter cropped image.

351
Keep him in the same position for his single portrait.

352
Sit her back on his posing stool, facing the opposite
direction.

353
354
You need two posing stools, a rose from the onboard
florist and two champagne glasses full of Ginger Ale from
a bar. This set is a regular sitting down set with the addi-
tion of a rose and champagne.

355
You could also do this set on a plain backdrop.

356
Change the champagne for the roses. Rotate her on the
stool, left arm around his neck, like a hug. Place her right
hand over his heart while she holds the rose.
Tilt the camera towards the tallest person.

357
She holds the rose, tilting it towards her shoulder.

358
Keep him in the same position for his single portrait.

359
Sit her back on his posing stool.

360
361
You need two posing stools, a rose from the onboard
florist and two champagne glasses full of Ginger Ale from
the bar. This set is a regular sitting down set with the addi-
tion of a rose and champagne.

362
Add the rose to her and the champagne for him, use the
same pose.

363
Tilt the camera towards her for this effect, if you want to
show the effect of him leaning over her, then tilt the cam-
era towards him.

364
Stand her up and move her behind him.

365
Take his single image first.

366
Then her’s, she just needs to sit down on his stool.

367
368
This set can be done at any full length location.
This is a very easy set, and a very fast one. This set is great
for beginners, where they can concentrate on the consis-
tency and full length cropping.

369
All of the poses are the standard full length poses.

370
Just move the hands around for the first three images.

371
Get her to turn around hands in front of her, you can also
bring his hand on her arm for this pose.

372
Get his single portrait first.

373
Then get her single portrait.

374
375
This set is for casual white portraits.
Sit them on the floor, you are standing up and they look up
at you.

376
Use the same pose just move in closer, still standing up,
really make them lift their chins up to you.

377
Keep her in the same position just have him to put his
right hand on the floor behind her, left knee up right knee
down. You are still standing up., tilt camera towards him.

378
He is still in the same position just have her to move now,
careful her shadow doesn’t fall on his face.

379
She leans on his shoulders closer to his head not lower
down his back. Shoot at eye level. Tilt camera to the right.

380
Stand up again for this pose, move in closer, she leans
closer to his head.

381
382
This set is for casual white portraits.
Sit them on the floor, you are standing up and they look up
at you.

383
Use the same pose just move in closer. Still standing up,
really make them lift their chins up to you.

384
Keep him in same position and just rotate her, you are still
standing.

385
He remains in the same position while, you are shooting at
eye level now.

386
Moving him to the other side is mainly for the next image.
You are still shooting at eye level.

387
She leans on his shoulders closer to his head not lower
down his back. Shoot at eye level. Tilt camera to the right.
You should now get their single portraits.

388
389
This set is for casual white portraits. Start by using the
step ladder, you can choose to fold his arms or put his
right hand in his trouser pocket. Make sure you are much
higher than they are.

390
Lie them down on their sides resting elbows on the
ground. They have to be in the same focal plane, and you
are shoot at eye level.

391
This pose can be complicated with women that have a
larger cleavage. If so just ask her to put both hands under
her chin, like the next image or turn her body more onto
the side.

392
Use the same pose for a horizontal image.

393
Since he first sat down he has only moved his arm, so
this is a great set for him. Use his original pose to get his
single.

394
She is on the side so we don’t look down at her cleavage,
you are shooting at eye level.

395
396
You can add a rose to these poses just to make it look
romantic and different. Props are very welcome on the
white backdrop. Stand on top of a step ladder for this first
image.

397
Same pose just get them to look at each other. Tilt camera
towards tallest person.

398
You are shooting at eye level, ask her to lift her left foot.
Tilt camera towards tallest person. This pose can also be
taken at any full length location just without the tilt.

399
Use the smallest white posing hex for her seat. She leans
her body towards him, he’s just sitting on the floor.

400
Get him to stay there and just remove her and the stool.
You are standing up for this image.

401
Bring two white hex stools, small one for her to sit on and
the larger one for her to use as a table.

402
403
The couple sits at the ledge of the fountain. On this pose
you can also put his hand on her arm.

404
All the standard poses that we do on a regular backdrop
can be applied at this location.

405
Even though the fountain is a pretty location there
shouldn’t be a lot of hori images.

406
He leans his right shoulder towards her.

407
His single first.

408
Get her to sit closer to the fountain, when she puts her
right hand on the ledge and tilts her shoulders, it slims her
body.

409
410
This pose set can be for any backdrop. You need two
posing stools.

411
The woman turns in towards the man and places her
hand over his heart.

412
This pose is great for recently engage couples or recently
marred to show off the ring. You can also have them look-
ing at the ring.

413
She place her hand on the side of his face, which is great
for hiding lines or wrinkles. Careful not to cover his face.
Step in close for a tightly cropped image.

414
Get him to stay in the same pose for his single.

415
Bring her back for her single, facing the opposite direction.

416
417
For this set you need a high chair, usually found at many
of the bars around the vessel.
She sits and leans on the side of the chair. You may
require an apple box to stand on.

418
Same position, bring his hand on her shoulder and you
step in closer for a tighter cropped image. If he’s to short
for this pose you can either sit him or switch to an alterna-
tive pose.

419
Ask her to sit straight on the chair, bring him around, his
hand is in his pocket but can also be at his side.

420
She still sits, he rotates towards her and they hold hands
in front. Move in closer and crop the image so you can’t
see the chair.

421
The reason why we capture her single first on this occa-
sion is because she’s already seating down and this is
more efficient.

422
For his single, you can could also stand him at the side
of the chair arm resting on the chair, just don’t include too
much of the empty chair.

423
424
For this set you need a high chair. Ask her to sit and lean
on the side of the chair. You might have to shoot on top of
an apple box.

425
Bring his hand onto her shoulder and step in closer for a
tighter cropped image.

426
Ask her to sit straight on the chair, bring him around to the
other side. His hand is in his pocket but can also be at his
side.

427
You still have one more couple image to go, but shoot her
single now to save time.

428
Sit him on the chair and bring her in T one side, heads
closer together and hand on his arm.

429
Now since he is already sitting, he is ready for his single
image.

430
431
For this set you need a high chair, you can find one at
many bars around the vessel.

Ask her to sit and lean on the side of the chair. It is pos-
sible that you might have to shoot on top of a apple box.

432
Because this is a theme background you can easily turn
the same pose from vertical to a horizontal. But if you want
it look different, then drop his hand from her arm and
place it by his side or in his pocket.

433
Another simple and fast way to create a different image
from the same pose is to move in closer for a tighter crop.

434
Add in a more standard pose to balance the contempo-
rary style on the next images.

435
The chair gives more options for single poses.

436
Stand him at the side of the chair for speed purposes, but
you can also sit him down if you have the time.

437
438
You need two posing stools. Sit the man first, straddling
the stool like a motorbike or horse. Then sit her leaning
backwards onto his chest.

439
Rotate her for a more standard holding hands in front
pose to balance out the other contemporary images.

440
This pose is great for recently engaged or married
couples to show off the ring. You could also have them
looking at the ring instead of towards the camera.

441
She places a hand over his heart and they look into each
others eyes. Get them to move in very close with noses
almost touching. Move in for a closer cropped image.

442
His single portrait first.

443
Then hers facing the opposite direction.

444
445
This set of poses can also be without the tall chair.

The chair really is just to make this look different from other
full length locations. Start with the simple full length image.

446
Crop in for a three quarters body image, and make the
image different by holding hands in front.

447
Step in closer for a tighter cropped image. Ask them to
look at each other and she places a hand over her heart.

448
Now bring in the chair.

449
She is already sitting, so her single first to save time.

450
Bring him back for his sitting single, facing the opposite
direction.

451
452
This set was outside Sabatinis, but is here to show that
you can be creative with more than just posing.

453
454
455
456
457
458