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When the subject’s arms are crossed, keeping them loosely folded and slightly away from the body will help to prevent distortion. If the subject is to grasp his biceps in this pose, instruct him to rest his hands gently on his upper arms; grasping them too firmly can make the subject look as though he is shivering.

HANDS

Keep the hands at an angle to the lens to avoid distorting their size and shape. Photographing the outer edge of the hand produces a more appealing look than showing the back of the hand or the palm, which may look unnaturally large (especially when close to the face). Additionally, it is usually advised that the hands should be at different heights in the image. This creates a diagonal line that makes the pose more dynamic.

Hands are often easiest to pose when they have something to do—either a prop to hold or something to rest upon. Placing the hands in the pockets is a simple solution—and one that will feel comfortable to almost everyone. When doing this, have the subject either hook his thumbs only into the pockets or place his entire hand into the pocket.

In seated or squatting poses with the knees apart, the hands are often loosely grasped in front of the subject to conceal the groin area—which can otherwise be too prominent.

WAIST AND STOMACH

Separating the arms from the torso helps to slim the subject’s waist. Turning the torso so that it is at an angle to the camera will also have a slimming effect. (Note: This is not the case, however, for men with larger “beer bellies”; turning these subjects can place the protruding stomach area in profile, accentuating it. Instead, choose a more straight-on pose to flatten the look of this area.)

In seated poses, an upright posture will help to flatten the stomach area, as will selecting a standing pose rather than a seated one. Conversely, seated men are often posed leaning forward with their hands or elbows on their knees; this can conceal the waist area entirely.

It is also generally recommended that the body be angled away from the main light. This allows the far side of the body to fall into shadow for a slimming effect.

LEGS

Whether the subject is standing or seated, the legs should be posed independently rather than identically. Typically, one leg is straighter and used to support the body (or in a seated pose, to connect the subject to the floor). The other leg can then be bent to create a more interesting line in the composition.

According to traditional posing rules, the subject should put his weight on his back foot, shifting the body slightly away from the camera. This creates a more flattering appearance than having the weight distributed evenly on both feet. As many of the portraits in this book show, however, men can also be successfully posed with their weight on the foot closer to the camera. This creates a more assertive look. With either approach, having a slight bend in the non-weight-bearing leg helps to create a less static look.

FEET

Feet often look distorted when the toes are pointed directly at the camera. It is best to show the feet from an angle. In most cases, men will have their feet flat on the ground or some other supporting surface. The exceptions are in standing poses where one leg is crossed over the other (here, only the toe of the crossed leg touches the ground) and in squatting poses (where one or both heels will be raised). In seated poses with the legs crossed, it is desirable to avoid showing the sole of the subject’s shoe—especially if it is worn.

The Photographers

Steven Begleiter (www.begleiter.com). Steven Begleiter is an award-winning freelance photographer and studio owner based in Missoula, MT, who began his career as a photo assistant to Annie Leibowitz and Mary Ellen Mark. Before moving to Montana, Steven operated successful commercial photography businesses in New York City and Philadephia, winning assignments from international magazines, Fortune 500 companies, and national advertising