
Posing
Pose the situation, not the bodies. Six arrangements cover nearly every couple session, and each is built to be moved through rather than held.
In short: Pose the situation, not the bodies. Six arrangements cover nearly every couple session, and each is built to be moved through rather than held.
The workhorse. Shot in bursts, from front and behind.
Intimate without a kiss, and it solves what to do with faces.
Puts both faces in the same focal plane and gives a height difference somewhere to go.
Steps, a wall, a bench. Sitting removes standing stiffness.
One says something quiet, the other reacts. Real laughter follows within seconds.
Fingers interlaced on a coat or around a cup. Every gallery needs two or three of these.
The dip kiss, the piggyback and the jumping shot. Each appears in every gallery and each reads as an instruction rather than a moment.
Begin with walking, hands joined, then move into forehead to forehead once everyone is comfortable. Finish with hands, cropped close, when expressions and movement are usually least self-conscious. The sequence matters more than copying a fixed shape: each pose should give the subject a simple action.
The 6 setups in this guide are enough for a varied gallery. Each setup can produce a full-length frame, a three-quarter portrait and a close detail without changing the idea. It is better to develop a few useful setups than rush through a long list that never settles.
Give the hands a job: adjust a cuff, hold fabric lightly, touch another person, carry a prop or let one arm move during a walk. Keep fingers relaxed and avoid pressing a palm flat against the body. Mariya directs these small changes during the session, so there is nothing to memorise.
The dip kiss, the piggyback and the jumping shot. Each appears in every gallery and each reads as an instruction rather than a moment. The practical test is whether the position can breathe and move. If it only works while held rigidly, it will normally look arranged rather than observed.