Let\u2019s get started!<\/p>\n
10 Group Photo Poses and Ideas For Family and Wedding Photography<\/h2>\n\n- Choose a Posing Style<\/a><\/li>\n
- Consider the Location<\/a><\/li>\n
- Create and Follow a Game Plan<\/a><\/li>\n
- Start with the Couple<\/a><\/li>\n
- Bring in the Group<\/a><\/li>\n
- Become a Director<\/a><\/li>\n
- Light Accordingly<\/a><\/li>\n
- Prioritize Aperture<\/a><\/li>\n
- Move In Close for Candids<\/a><\/li>\n
- Add Action to the Scene<\/a><\/li>\n<\/ol>\n
Tip 1: Choose a Style for Group Photo Poses<\/h2>\n
When it comes to formal group photo poses, we have two basic styles to choose from: standard symmetrical (classic or traditional) group photo poses and editorial group photo poses. How we build the pose and light it, specifically, will determine its style. Naturally, each style carries with it a number of pros and cons.<\/p>\n
Editorial Group Photo Poses<\/h3>\n![\"editorial](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/Editorial-group-photo-poses-with-groomsmen-painterly-portrait.jpg\")
Photo by Lin & Jirsa Photography<\/a><\/em><\/figcaption><\/figure>\nYou\u2019ll typically find this style of posing used on the covers and across spreads in fashion magazines like Vogue. It often incorporates more dramatic lighting and dynamic posing. Balance across the frame still matters, but each subject will likely strike a unique pose and their expressions will fall more on the serious side.<\/p>\n
Because of the added complexity in terms of lighting and posing individuals within the group, fitting editorial shots into the timeline can tack on an additional 30-40 minutes, though this can be reduced depending on the group and situation.<\/p>\n
Pros<\/strong><\/p>\n\n- Production value<\/li>\n
- Visual interest<\/li>\n
- Portfolio worthy<\/li>\n
- Impressions<\/li>\n
- Great assets for album\/wall-art<\/li>\n
- More marketing\/social media potential<\/li>\n<\/ul>\n
Cons<\/strong><\/p>\n\n- Challenging<\/li>\n
- Require more time to execute<\/li>\n
- More pressure\/stress<\/li>\n<\/ul>\n
Mindset over Matter<\/h4>\n
I would also like to point out that our mindset can affect whether or not we\u2019re successful when using this style of posing. If you do not enjoy it or feel that it\u2019s too difficult or not worth the effort, then you\u2019ll likely have a harder time capturing editorial group portraits. Instead, I recommend taking a step back and recognizing this as a unique opportunity. Our subjects are dressed their best and the location is likely amazing, assuming that you\u2019re photographing a wedding or similar event in a formal setting. Make the most of the situation and try to create images with great visual interest and production value. Think of the effort required if you were to try and set up this type of shot on your own.<\/p>\n
Symmetrical Group Photo Poses<\/h3>\n![\"symmetrical](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/Symmetrical-group-photo-poses-for-wedding-party.jpg\")
Photo by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nOf the two group photo posing styles, symmetrical poses are the easiest to execute. As a result, you will see photographers go with this style of posing for group portraits on a more regular basis, especially when shooting in a more bright & airy style. While the word symmetrical suggests that the subjects in the group will mirror one another exactly on either side of the centerpiece when posing this way, the reality is that we\u2019re looking more for balance than symmetry, especially in terms of numbers. The same is also true for editorial posing.<\/p>\n
For a standard symmetrical group photo pose, place the couple in the center in the v-up pose (hinged in the center and slightly facing one another) and have the remaining subjects on either side point their toes and bodies toward the bride and groom. You\u2019ll want to watch for height and symmetry across the group.<\/p>\n
Pros<\/strong><\/p>\n\n- Easy to set up<\/li>\n
- Does not require much time<\/li>\n
- Minimal challenges<\/li>\n
- Works well with small groups (6 or fewer) and large groups (20+)<\/li>\n<\/ul>\n
Cons<\/strong><\/p>\n\n- Not as visually interesting as editorial group photo poses<\/li>\n
- Less likely to get shared on social media<\/li>\n<\/ul>\n
Tip 2: Consider the Location<\/h2>\n
I mention location scouting after deciding on a style for your group photo poses because it\u2019s important to scout for a location that aligns with your client\u2019s vision for the group portraits. That said, I want to stress the importance of scouting before the shoot, whether you\u2019re shooting a wedding, a family portrait session, or whatever. I consider scouting or pre-scouting an absolute must, even if you only have a few minutes just before the shoot.<\/p>\n![\"location](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/group-photo-poses-location-scouting.jpg\")
Photo by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nWhen scouting for locations, specifically for group portraits during a wedding, you should look for a space close to the ceremony site that can accommodate a large group of people. There are some instances, especially during culturally specific weddings, in which the shooting space will already be decided based on traditional norms. For example, families at Indian weddings typically prefer to shoot on the mandap while the Chuppah is often used for Jewish weddings. Always communicate with your clients beforehand to know if they have any preferences.<\/p>\n
Tip 3: Create and Follow a Game Plan for Group Photo Poses<\/h2>\n![\"variations](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/Variations-for-group-photo-poses-x-4.jpg\")
Groupings – Top Left: Groom’s immediate family, Top Right: Bridal party, Bottom Left: Bride’s immediate family, Bottom Right: Bride & Groom’s immediate families. Photos by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nDepending on the situation, such as when you\u2019re trying to put together group photo poses during a wedding, time may not be on your side. I recommend working with your client ahead of time, especially for weddings, to determine which groupings of people you want to put together. Creating a game plan in advance can also help you avoid awkward moments of trying to place people together who might not get along very well. It happens. To be clear, you don\u2019t need to create a physical list (although it helps). We just want to avoid getting hung up in the moment, and figuring out groupings in advance can help.<\/p>\n
Tip 4: Start with the Couple<\/h2>\n![\"Wedded](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/03\/Wedding-Poses-for-natural-photos-the-v-up-01.jpg\")
V-Up Pose | Photo by Lin & Jirsa Photography<\/figcaption><\/figure>\nDon\u2019t try to imagine where to place everybody at once. When posing a large group during a wedding for a formal family portrait, start at the center. For weddings, you will typically begin with the bride and groom as your centerpiece and then build the pose outward. Similarly, for non-wedding family portraits, start with the parents or the grandparents, depending on the family\u2019s preference, and then bring in additional family members.<\/p>\n
As for how to pose the people in the center, I recommend the v-up, which is one of five Foundation Poses<\/a>. Although I mentioned it above, the v-up involves hinging your couple on one side (like a door) and having them slightly face one another in a v-formation. You might not use a v-up pose for editorial style group poses.<\/p>\nTip 5: Bring in the Group<\/h2>\n
The number of people in your group can vary dramatically, but the group size, whether large or small, shouldn\u2019t really alter your approach. When bringing in additional subjects, just remember that the same general posing rules apply for individuals, couples, or entire groups. The only real difference between photographing couples or groups is the added dynamic of adding several people to the frame. Here are some tips and things to keep in mind when bringing in the group as you start to design your pose.<\/p>\n
Just Get Started<\/h3>\n
Start with a rough layout and position group members on each side of your centerpiece. You really just want to move people into an approximate position while you put together the pose. Taking this approach helps keep things moving towards the final pose. If you\u2019ve decided to go with a symmetrical pose, this process will move very quickly as you can pretty much try to add an even amount of people on either side of the centerpiece and then ask them to point their toes and bodies toward the center.<\/p>\n
It\u2019s important to note that relationships between group members can also play a role in determining who will stand or sit where, so keep this in mind when moving everyone into position for your group photo poses.<\/p>\n
Balance the Frame<\/h3>\n
Rather than focus on creating perfect symmetry, try to create a sense of balance. Some key factors that will affect the balance of your group portrait include the height of your subjects, the number of people on each side of your centerpiece (the number does not need to be equal), and the colors your subjects are wearing.<\/p>\n![\"seated](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/group-photo-poses-sitting-uneven-numbers.jpg\")
Photo by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nWhile most aspects of creating balance seem pretty straightforward, the one photographers regularly struggle with involves working with uneven numbers in groups. If you have a married couple with five groomsmen and five bridesmaids, you can simply place the couple in the center with five people on each side. What happens, however, when the numbers don\u2019t lend themselves to such simple balancing? That\u2019s when we must use positioning and pose variation to make the image appear balanced, even if it isn\u2019t symmetrical. See the image above for an example.<\/p>\n
Build Layers<\/h3>\n![\"build](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/group-photo-poses-build-layers.jpg\")
Photo by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nWhen photographing larger groups, we can use props, like chairs or stairs or whatever\u2019s available, to create rows and limit the depth of the group. This will allow us to quickly create several rows, including a floor-seating row (usually for children), a second row for sitting on chairs, and additional standing rows with the tallest people in the back.<\/p>\n
Create Connection and Flow for Group Photo Poses<\/h3>\n
Regardless of the posing style we use, we generally want to create connections between our group members and set up the pose so that the viewer\u2019s eyes will move back and forth across the group without being led out of the frame. One way we can create a sense of connection involves placing hands on shoulders or weaving them through arms. This also helps convey a sense of familiarity and establishes relationships between the people in the image. The more touchpoints we use between subjects, the more intimate they appear.<\/p>\n
Another way to create connection is to position our subjects so that they slightly overlap one another. For most large group portraits, each person in the group should only slightly overlap the person next to him or her, covering no more than 20-30% of the person\u2019s body.<\/p>\n
Tip 6: Become a Director<\/h2>\n
It would be difficult to overstate the importance of clear communication when directing group photo poses. No matter how stressful the situation or how short we are on time, we need to \u201ckeep calm and pose on.\u201d This is often easier said than done.<\/p>\n
Put Down the Camera<\/h3>\n![\"photographer](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/group-photo-poses-put-the-camera-down.jpg\")
Photo by SLR Lounge<\/em><\/figcaption><\/figure>\nIn reality, handling large groups while taking group portraits closely resembles public speaking. We must entertain the group and convey our message (in this case, getting them into a pose), all at the same time. Doing this well requires focus and a bit of finesse. For this reason, I recommend putting down the camera and taking on the role of a director when posing a group. You should engage each subject while placing them, and do what you can to create a positive experience.<\/p>\n
Direct for Expressions<\/h3>\n
It\u2019s important to get not only a flattering expression from your subjects but also one that matches the style of the portrait you\u2019re capturing. For example, if you\u2019ve placed your group into an editorial group photo pose, you\u2019ll more often ask your subjects to make a serious facial expression to match the vibe of the pose (think Zoolander\u2019s \u201cBlue Steel,\u201d but eased back a bit). Symmetrical (or more traditional) group photo poses work well with bigger grins.<\/p>\n
Either way, be sure to direct your subjects into a number of different expressions so that you can add variety to the images you\u2019re capturing. An easy way to break this down would be asking your subjects to look at the camera, then look at each other, and so on.<\/p>\n
Before you call it a day, zoom in to ensure everyone is looking where they\u2019re supposed to be looking and that nobody blinked. Doing this in the moment can save you from having to swap heads during post.<\/p>\n
Bonus:<\/strong> After capturing the first couple frames, I like to show the images to my clients. This accomplishes a couple of things. First, we can make sure we\u2019re on the same page and that they\u2019re satisfied with the direction of the shoot. Assuming we are on the same page, then showing the images up front also builds trust and gives my clients confidence for the rest of the session.<\/p>\nTip 7: Light Accordingly for Group Photo Poses<\/h2>\n![\"lighting](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/light-accordingly-for-group-photo-poses-bts.jpg\")
Photo by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nWhen it comes to lighting group photos, simplicity and efficiency is key. After all, whether you\u2019re trying to avoid a meltdown from kids in a family portrait setting or your chasing a rushed timeline during a wedding, time is of the essence. If your clients prefer a bright & airy look and natural lighting will get the job done with incredible results, then don\u2019t feel compelled to add light. Look for open shade if possible and set up your pose. When the occasion does call for added light, have a system in place to quickly analyze the scene and set up your lighting. Here are some tips on lighting your group portraits accordingly.<\/p>\n
Lighting Gear<\/h3>\n
Depending on the portrait style, or even the location, you may need to add light to a scene. Here\u2019s a quick list of go-to lighting tools, modifiers, and stands that will allow you to create dynamic group portraits. You\u2019ll find several options listed that cover a range for various budgets and styles.<\/p>\n
Lighting<\/strong><\/p>\n\n- Canon Speedlite 600EX II-RT<\/a><\/li>\n
- Yongnuo YN600EX-RTII Speedlite Flash for Canon Cameras<\/a><\/li>\n
- Profoto B2 250Ws Off Camera Flash (OCF) Head<\/a><\/li>\n
- Flashpoint XPLOR 600 HSS Battery-Powered Monolight <\/a><\/li>\n<\/ul>\n
CTO Gels<\/strong><\/p>\n\n- MagMod Standard Gel Kit<\/a><\/li>\n<\/ul>\n
Remote Trigger<\/strong><\/p>\n\n- Canon ST-E3-RT Speedlite Transmitter, Version 2<\/a><\/li>\n
- Yongnuo Wireless Speedlite Transmitter for Canon Cameras<\/a><\/li>\n<\/ul>\n
Light Stand<\/strong><\/p>\n\n- Manfrotto Nano Plus 3-Section Light Stand<\/a><\/li>\n<\/ul>\n
Diffusion<\/strong><\/p>\n\n- Westcott 43″ Optical White Satin Collapsible Umbrella<\/a><\/li>\n
- Profoto OCF 24″ Beauty Dish with Deflector Plate, White<\/a><\/li>\n
- Profoto OCF 24″ Beauty Dish with Deflector Plate, Silver<\/a><\/li>\n<\/ul>\n
Lighting for Editorial Group Photo Poses<\/h3>\n![\"composite](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/group-photo-poses-lighting-editorial-style.jpg\")
Photo by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nI\u2019ve already mentioned that editorial group poses call for more dramatic lighting. In other words, the light tends to be more directional and less soft. In fact, if I want more specular highlights for editorial style lighting, I\u2019ll use a silver surface, like a Profoto Deep Medium Umbrella in Silver<\/a>, to help create that type of light.<\/p>\nAlso, for a more dramatic look, I\u2019ll go with a darker ambient light exposure and use the added light to chisel out my subjects. The balance of ambient to added light will vary based on personal preference, which means there are no standard camera settings to use. For this reason, I recommend experimenting with different settings in various scenes to get the look you\u2019re after.<\/p>\n
If I really want to control the lighting for these shots, I\u2019ll plan for a composite shot. Shooting for composites can prove challenging, and it requires more time in post, but it also tends to get the biggest (and best) response from my clients. To shoot a composite, have an assistant light small portions of the group at a time and then combine (or composite) the collection of shots together in Photoshop for the final, fully lit group photo. Remember to take a plate shot without the subjects to make it easier to edit out unwanted details or distracting items from the shot.<\/p>\n
Lighting for Symmetrical or Standard Group Photo Poses<\/h3>\n![\"bright](\"https:\/\/www.adorama.com\/alc\/wp-content\/uploads\/2021\/10\/traditional-group-photo-poses-bright-and-airy.jpg\")
Photo by SLR Lounge<\/em><\/figcaption><\/figure>\n
Tip 1: Choose a Style for Group Photo Poses<\/h2>\n
When it comes to formal group photo poses, we have two basic styles to choose from: standard symmetrical (classic or traditional) group photo poses and editorial group photo poses. How we build the pose and light it, specifically, will determine its style. Naturally, each style carries with it a number of pros and cons.<\/p>\n
Editorial Group Photo Poses<\/h3>\nPhoto by Lin & Jirsa Photography<\/a><\/em><\/figcaption><\/figure>\nYou\u2019ll typically find this style of posing used on the covers and across spreads in fashion magazines like Vogue. It often incorporates more dramatic lighting and dynamic posing. Balance across the frame still matters, but each subject will likely strike a unique pose and their expressions will fall more on the serious side.<\/p>\n
Because of the added complexity in terms of lighting and posing individuals within the group, fitting editorial shots into the timeline can tack on an additional 30-40 minutes, though this can be reduced depending on the group and situation.<\/p>\n
Pros<\/strong><\/p>\n\n- Production value<\/li>\n
- Visual interest<\/li>\n
- Portfolio worthy<\/li>\n
- Impressions<\/li>\n
- Great assets for album\/wall-art<\/li>\n
- More marketing\/social media potential<\/li>\n<\/ul>\n
Cons<\/strong><\/p>\n\n- Challenging<\/li>\n
- Require more time to execute<\/li>\n
- More pressure\/stress<\/li>\n<\/ul>\n
Mindset over Matter<\/h4>\n
I would also like to point out that our mindset can affect whether or not we\u2019re successful when using this style of posing. If you do not enjoy it or feel that it\u2019s too difficult or not worth the effort, then you\u2019ll likely have a harder time capturing editorial group portraits. Instead, I recommend taking a step back and recognizing this as a unique opportunity. Our subjects are dressed their best and the location is likely amazing, assuming that you\u2019re photographing a wedding or similar event in a formal setting. Make the most of the situation and try to create images with great visual interest and production value. Think of the effort required if you were to try and set up this type of shot on your own.<\/p>\n
Symmetrical Group Photo Poses<\/h3>\nPhoto by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nOf the two group photo posing styles, symmetrical poses are the easiest to execute. As a result, you will see photographers go with this style of posing for group portraits on a more regular basis, especially when shooting in a more bright & airy style. While the word symmetrical suggests that the subjects in the group will mirror one another exactly on either side of the centerpiece when posing this way, the reality is that we\u2019re looking more for balance than symmetry, especially in terms of numbers. The same is also true for editorial posing.<\/p>\n
For a standard symmetrical group photo pose, place the couple in the center in the v-up pose (hinged in the center and slightly facing one another) and have the remaining subjects on either side point their toes and bodies toward the bride and groom. You\u2019ll want to watch for height and symmetry across the group.<\/p>\n
Pros<\/strong><\/p>\n\n- Easy to set up<\/li>\n
- Does not require much time<\/li>\n
- Minimal challenges<\/li>\n
- Works well with small groups (6 or fewer) and large groups (20+)<\/li>\n<\/ul>\n
Cons<\/strong><\/p>\n\n- Not as visually interesting as editorial group photo poses<\/li>\n
- Less likely to get shared on social media<\/li>\n<\/ul>\n
Tip 2: Consider the Location<\/h2>\n
I mention location scouting after deciding on a style for your group photo poses because it\u2019s important to scout for a location that aligns with your client\u2019s vision for the group portraits. That said, I want to stress the importance of scouting before the shoot, whether you\u2019re shooting a wedding, a family portrait session, or whatever. I consider scouting or pre-scouting an absolute must, even if you only have a few minutes just before the shoot.<\/p>\nPhoto by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nWhen scouting for locations, specifically for group portraits during a wedding, you should look for a space close to the ceremony site that can accommodate a large group of people. There are some instances, especially during culturally specific weddings, in which the shooting space will already be decided based on traditional norms. For example, families at Indian weddings typically prefer to shoot on the mandap while the Chuppah is often used for Jewish weddings. Always communicate with your clients beforehand to know if they have any preferences.<\/p>\n
Tip 3: Create and Follow a Game Plan for Group Photo Poses<\/h2>\nGroupings – Top Left: Groom’s immediate family, Top Right: Bridal party, Bottom Left: Bride’s immediate family, Bottom Right: Bride & Groom’s immediate families. Photos by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nDepending on the situation, such as when you\u2019re trying to put together group photo poses during a wedding, time may not be on your side. I recommend working with your client ahead of time, especially for weddings, to determine which groupings of people you want to put together. Creating a game plan in advance can also help you avoid awkward moments of trying to place people together who might not get along very well. It happens. To be clear, you don\u2019t need to create a physical list (although it helps). We just want to avoid getting hung up in the moment, and figuring out groupings in advance can help.<\/p>\n
Tip 4: Start with the Couple<\/h2>\nV-Up Pose | Photo by Lin & Jirsa Photography<\/figcaption><\/figure>\nDon\u2019t try to imagine where to place everybody at once. When posing a large group during a wedding for a formal family portrait, start at the center. For weddings, you will typically begin with the bride and groom as your centerpiece and then build the pose outward. Similarly, for non-wedding family portraits, start with the parents or the grandparents, depending on the family\u2019s preference, and then bring in additional family members.<\/p>\n
As for how to pose the people in the center, I recommend the v-up, which is one of five Foundation Poses<\/a>. Although I mentioned it above, the v-up involves hinging your couple on one side (like a door) and having them slightly face one another in a v-formation. You might not use a v-up pose for editorial style group poses.<\/p>\nTip 5: Bring in the Group<\/h2>\n
The number of people in your group can vary dramatically, but the group size, whether large or small, shouldn\u2019t really alter your approach. When bringing in additional subjects, just remember that the same general posing rules apply for individuals, couples, or entire groups. The only real difference between photographing couples or groups is the added dynamic of adding several people to the frame. Here are some tips and things to keep in mind when bringing in the group as you start to design your pose.<\/p>\n
Just Get Started<\/h3>\n
Start with a rough layout and position group members on each side of your centerpiece. You really just want to move people into an approximate position while you put together the pose. Taking this approach helps keep things moving towards the final pose. If you\u2019ve decided to go with a symmetrical pose, this process will move very quickly as you can pretty much try to add an even amount of people on either side of the centerpiece and then ask them to point their toes and bodies toward the center.<\/p>\n
It\u2019s important to note that relationships between group members can also play a role in determining who will stand or sit where, so keep this in mind when moving everyone into position for your group photo poses.<\/p>\n
Balance the Frame<\/h3>\n
Rather than focus on creating perfect symmetry, try to create a sense of balance. Some key factors that will affect the balance of your group portrait include the height of your subjects, the number of people on each side of your centerpiece (the number does not need to be equal), and the colors your subjects are wearing.<\/p>\nPhoto by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nWhile most aspects of creating balance seem pretty straightforward, the one photographers regularly struggle with involves working with uneven numbers in groups. If you have a married couple with five groomsmen and five bridesmaids, you can simply place the couple in the center with five people on each side. What happens, however, when the numbers don\u2019t lend themselves to such simple balancing? That\u2019s when we must use positioning and pose variation to make the image appear balanced, even if it isn\u2019t symmetrical. See the image above for an example.<\/p>\n
Build Layers<\/h3>\nPhoto by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nWhen photographing larger groups, we can use props, like chairs or stairs or whatever\u2019s available, to create rows and limit the depth of the group. This will allow us to quickly create several rows, including a floor-seating row (usually for children), a second row for sitting on chairs, and additional standing rows with the tallest people in the back.<\/p>\n
Create Connection and Flow for Group Photo Poses<\/h3>\n
Regardless of the posing style we use, we generally want to create connections between our group members and set up the pose so that the viewer\u2019s eyes will move back and forth across the group without being led out of the frame. One way we can create a sense of connection involves placing hands on shoulders or weaving them through arms. This also helps convey a sense of familiarity and establishes relationships between the people in the image. The more touchpoints we use between subjects, the more intimate they appear.<\/p>\n
Another way to create connection is to position our subjects so that they slightly overlap one another. For most large group portraits, each person in the group should only slightly overlap the person next to him or her, covering no more than 20-30% of the person\u2019s body.<\/p>\n
Tip 6: Become a Director<\/h2>\n
It would be difficult to overstate the importance of clear communication when directing group photo poses. No matter how stressful the situation or how short we are on time, we need to \u201ckeep calm and pose on.\u201d This is often easier said than done.<\/p>\n
Put Down the Camera<\/h3>\nPhoto by SLR Lounge<\/em><\/figcaption><\/figure>\nIn reality, handling large groups while taking group portraits closely resembles public speaking. We must entertain the group and convey our message (in this case, getting them into a pose), all at the same time. Doing this well requires focus and a bit of finesse. For this reason, I recommend putting down the camera and taking on the role of a director when posing a group. You should engage each subject while placing them, and do what you can to create a positive experience.<\/p>\n
Direct for Expressions<\/h3>\n
It\u2019s important to get not only a flattering expression from your subjects but also one that matches the style of the portrait you\u2019re capturing. For example, if you\u2019ve placed your group into an editorial group photo pose, you\u2019ll more often ask your subjects to make a serious facial expression to match the vibe of the pose (think Zoolander\u2019s \u201cBlue Steel,\u201d but eased back a bit). Symmetrical (or more traditional) group photo poses work well with bigger grins.<\/p>\n
Either way, be sure to direct your subjects into a number of different expressions so that you can add variety to the images you\u2019re capturing. An easy way to break this down would be asking your subjects to look at the camera, then look at each other, and so on.<\/p>\n
Before you call it a day, zoom in to ensure everyone is looking where they\u2019re supposed to be looking and that nobody blinked. Doing this in the moment can save you from having to swap heads during post.<\/p>\n
Bonus:<\/strong> After capturing the first couple frames, I like to show the images to my clients. This accomplishes a couple of things. First, we can make sure we\u2019re on the same page and that they\u2019re satisfied with the direction of the shoot. Assuming we are on the same page, then showing the images up front also builds trust and gives my clients confidence for the rest of the session.<\/p>\nTip 7: Light Accordingly for Group Photo Poses<\/h2>\nPhoto by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nWhen it comes to lighting group photos, simplicity and efficiency is key. After all, whether you\u2019re trying to avoid a meltdown from kids in a family portrait setting or your chasing a rushed timeline during a wedding, time is of the essence. If your clients prefer a bright & airy look and natural lighting will get the job done with incredible results, then don\u2019t feel compelled to add light. Look for open shade if possible and set up your pose. When the occasion does call for added light, have a system in place to quickly analyze the scene and set up your lighting. Here are some tips on lighting your group portraits accordingly.<\/p>\n
Lighting Gear<\/h3>\n
Depending on the portrait style, or even the location, you may need to add light to a scene. Here\u2019s a quick list of go-to lighting tools, modifiers, and stands that will allow you to create dynamic group portraits. You\u2019ll find several options listed that cover a range for various budgets and styles.<\/p>\n
Lighting<\/strong><\/p>\n\n- Canon Speedlite 600EX II-RT<\/a><\/li>\n
- Yongnuo YN600EX-RTII Speedlite Flash for Canon Cameras<\/a><\/li>\n
- Profoto B2 250Ws Off Camera Flash (OCF) Head<\/a><\/li>\n
- Flashpoint XPLOR 600 HSS Battery-Powered Monolight <\/a><\/li>\n<\/ul>\n
CTO Gels<\/strong><\/p>\n\n- MagMod Standard Gel Kit<\/a><\/li>\n<\/ul>\n
Remote Trigger<\/strong><\/p>\n\n- Canon ST-E3-RT Speedlite Transmitter, Version 2<\/a><\/li>\n
- Yongnuo Wireless Speedlite Transmitter for Canon Cameras<\/a><\/li>\n<\/ul>\n
Light Stand<\/strong><\/p>\n\n- Manfrotto Nano Plus 3-Section Light Stand<\/a><\/li>\n<\/ul>\n
Diffusion<\/strong><\/p>\n\n- Westcott 43″ Optical White Satin Collapsible Umbrella<\/a><\/li>\n
- Profoto OCF 24″ Beauty Dish with Deflector Plate, White<\/a><\/li>\n
- Profoto OCF 24″ Beauty Dish with Deflector Plate, Silver<\/a><\/li>\n<\/ul>\n
Lighting for Editorial Group Photo Poses<\/h3>\nPhoto by Lin & Jirsa Photography<\/em><\/figcaption><\/figure>\nI\u2019ve already mentioned that editorial group poses call for more dramatic lighting. In other words, the light tends to be more directional and less soft. In fact, if I want more specular highlights for editorial style lighting, I\u2019ll use a silver surface, like a Profoto Deep Medium Umbrella in Silver<\/a>, to help create that type of light.<\/p>\nAlso, for a more dramatic look, I\u2019ll go with a darker ambient light exposure and use the added light to chisel out my subjects. The balance of ambient to added light will vary based on personal preference, which means there are no standard camera settings to use. For this reason, I recommend experimenting with different settings in various scenes to get the look you\u2019re after.<\/p>\n
If I really want to control the lighting for these shots, I\u2019ll plan for a composite shot. Shooting for composites can prove challenging, and it requires more time in post, but it also tends to get the biggest (and best) response from my clients. To shoot a composite, have an assistant light small portions of the group at a time and then combine (or composite) the collection of shots together in Photoshop for the final, fully lit group photo. Remember to take a plate shot without the subjects to make it easier to edit out unwanted details or distracting items from the shot.<\/p>\n
Lighting for Symmetrical or Standard Group Photo Poses<\/h3>\nPhoto by SLR Lounge<\/em><\/figcaption><\/figure>\n
You\u2019ll typically find this style of posing used on the covers and across spreads in fashion magazines like Vogue. It often incorporates more dramatic lighting and dynamic posing. Balance across the frame still matters, but each subject will likely strike a unique pose and their expressions will fall more on the serious side.<\/p>\n
Because of the added complexity in terms of lighting and posing individuals within the group, fitting editorial shots into the timeline can tack on an additional 30-40 minutes, though this can be reduced depending on the group and situation.<\/p>\n
Pros<\/strong><\/p>\n Cons<\/strong><\/p>\n I would also like to point out that our mindset can affect whether or not we\u2019re successful when using this style of posing. If you do not enjoy it or feel that it\u2019s too difficult or not worth the effort, then you\u2019ll likely have a harder time capturing editorial group portraits. Instead, I recommend taking a step back and recognizing this as a unique opportunity. Our subjects are dressed their best and the location is likely amazing, assuming that you\u2019re photographing a wedding or similar event in a formal setting. Make the most of the situation and try to create images with great visual interest and production value. Think of the effort required if you were to try and set up this type of shot on your own.<\/p>\n Of the two group photo posing styles, symmetrical poses are the easiest to execute. As a result, you will see photographers go with this style of posing for group portraits on a more regular basis, especially when shooting in a more bright & airy style. While the word symmetrical suggests that the subjects in the group will mirror one another exactly on either side of the centerpiece when posing this way, the reality is that we\u2019re looking more for balance than symmetry, especially in terms of numbers. The same is also true for editorial posing.<\/p>\n For a standard symmetrical group photo pose, place the couple in the center in the v-up pose (hinged in the center and slightly facing one another) and have the remaining subjects on either side point their toes and bodies toward the bride and groom. You\u2019ll want to watch for height and symmetry across the group.<\/p>\n Pros<\/strong><\/p>\n Cons<\/strong><\/p>\n I mention location scouting after deciding on a style for your group photo poses because it\u2019s important to scout for a location that aligns with your client\u2019s vision for the group portraits. That said, I want to stress the importance of scouting before the shoot, whether you\u2019re shooting a wedding, a family portrait session, or whatever. I consider scouting or pre-scouting an absolute must, even if you only have a few minutes just before the shoot.<\/p>\n When scouting for locations, specifically for group portraits during a wedding, you should look for a space close to the ceremony site that can accommodate a large group of people. There are some instances, especially during culturally specific weddings, in which the shooting space will already be decided based on traditional norms. For example, families at Indian weddings typically prefer to shoot on the mandap while the Chuppah is often used for Jewish weddings. Always communicate with your clients beforehand to know if they have any preferences.<\/p>\n Depending on the situation, such as when you\u2019re trying to put together group photo poses during a wedding, time may not be on your side. I recommend working with your client ahead of time, especially for weddings, to determine which groupings of people you want to put together. Creating a game plan in advance can also help you avoid awkward moments of trying to place people together who might not get along very well. It happens. To be clear, you don\u2019t need to create a physical list (although it helps). We just want to avoid getting hung up in the moment, and figuring out groupings in advance can help.<\/p>\n Don\u2019t try to imagine where to place everybody at once. When posing a large group during a wedding for a formal family portrait, start at the center. For weddings, you will typically begin with the bride and groom as your centerpiece and then build the pose outward. Similarly, for non-wedding family portraits, start with the parents or the grandparents, depending on the family\u2019s preference, and then bring in additional family members.<\/p>\n As for how to pose the people in the center, I recommend the v-up, which is one of five Foundation Poses<\/a>. Although I mentioned it above, the v-up involves hinging your couple on one side (like a door) and having them slightly face one another in a v-formation. You might not use a v-up pose for editorial style group poses.<\/p>\n The number of people in your group can vary dramatically, but the group size, whether large or small, shouldn\u2019t really alter your approach. When bringing in additional subjects, just remember that the same general posing rules apply for individuals, couples, or entire groups. The only real difference between photographing couples or groups is the added dynamic of adding several people to the frame. Here are some tips and things to keep in mind when bringing in the group as you start to design your pose.<\/p>\n Start with a rough layout and position group members on each side of your centerpiece. You really just want to move people into an approximate position while you put together the pose. Taking this approach helps keep things moving towards the final pose. If you\u2019ve decided to go with a symmetrical pose, this process will move very quickly as you can pretty much try to add an even amount of people on either side of the centerpiece and then ask them to point their toes and bodies toward the center.<\/p>\n It\u2019s important to note that relationships between group members can also play a role in determining who will stand or sit where, so keep this in mind when moving everyone into position for your group photo poses.<\/p>\n Rather than focus on creating perfect symmetry, try to create a sense of balance. Some key factors that will affect the balance of your group portrait include the height of your subjects, the number of people on each side of your centerpiece (the number does not need to be equal), and the colors your subjects are wearing.<\/p>\n While most aspects of creating balance seem pretty straightforward, the one photographers regularly struggle with involves working with uneven numbers in groups. If you have a married couple with five groomsmen and five bridesmaids, you can simply place the couple in the center with five people on each side. What happens, however, when the numbers don\u2019t lend themselves to such simple balancing? That\u2019s when we must use positioning and pose variation to make the image appear balanced, even if it isn\u2019t symmetrical. See the image above for an example.<\/p>\n When photographing larger groups, we can use props, like chairs or stairs or whatever\u2019s available, to create rows and limit the depth of the group. This will allow us to quickly create several rows, including a floor-seating row (usually for children), a second row for sitting on chairs, and additional standing rows with the tallest people in the back.<\/p>\n Regardless of the posing style we use, we generally want to create connections between our group members and set up the pose so that the viewer\u2019s eyes will move back and forth across the group without being led out of the frame. One way we can create a sense of connection involves placing hands on shoulders or weaving them through arms. This also helps convey a sense of familiarity and establishes relationships between the people in the image. The more touchpoints we use between subjects, the more intimate they appear.<\/p>\n Another way to create connection is to position our subjects so that they slightly overlap one another. For most large group portraits, each person in the group should only slightly overlap the person next to him or her, covering no more than 20-30% of the person\u2019s body.<\/p>\n It would be difficult to overstate the importance of clear communication when directing group photo poses. No matter how stressful the situation or how short we are on time, we need to \u201ckeep calm and pose on.\u201d This is often easier said than done.<\/p>\n In reality, handling large groups while taking group portraits closely resembles public speaking. We must entertain the group and convey our message (in this case, getting them into a pose), all at the same time. Doing this well requires focus and a bit of finesse. For this reason, I recommend putting down the camera and taking on the role of a director when posing a group. You should engage each subject while placing them, and do what you can to create a positive experience.<\/p>\n It\u2019s important to get not only a flattering expression from your subjects but also one that matches the style of the portrait you\u2019re capturing. For example, if you\u2019ve placed your group into an editorial group photo pose, you\u2019ll more often ask your subjects to make a serious facial expression to match the vibe of the pose (think Zoolander\u2019s \u201cBlue Steel,\u201d but eased back a bit). Symmetrical (or more traditional) group photo poses work well with bigger grins.<\/p>\n Either way, be sure to direct your subjects into a number of different expressions so that you can add variety to the images you\u2019re capturing. An easy way to break this down would be asking your subjects to look at the camera, then look at each other, and so on.<\/p>\n Before you call it a day, zoom in to ensure everyone is looking where they\u2019re supposed to be looking and that nobody blinked. Doing this in the moment can save you from having to swap heads during post.<\/p>\n Bonus:<\/strong> After capturing the first couple frames, I like to show the images to my clients. This accomplishes a couple of things. First, we can make sure we\u2019re on the same page and that they\u2019re satisfied with the direction of the shoot. Assuming we are on the same page, then showing the images up front also builds trust and gives my clients confidence for the rest of the session.<\/p>\n When it comes to lighting group photos, simplicity and efficiency is key. After all, whether you\u2019re trying to avoid a meltdown from kids in a family portrait setting or your chasing a rushed timeline during a wedding, time is of the essence. If your clients prefer a bright & airy look and natural lighting will get the job done with incredible results, then don\u2019t feel compelled to add light. Look for open shade if possible and set up your pose. When the occasion does call for added light, have a system in place to quickly analyze the scene and set up your lighting. Here are some tips on lighting your group portraits accordingly.<\/p>\n Depending on the portrait style, or even the location, you may need to add light to a scene. Here\u2019s a quick list of go-to lighting tools, modifiers, and stands that will allow you to create dynamic group portraits. You\u2019ll find several options listed that cover a range for various budgets and styles.<\/p>\n Lighting<\/strong><\/p>\n CTO Gels<\/strong><\/p>\n Remote Trigger<\/strong><\/p>\n Light Stand<\/strong><\/p>\n Diffusion<\/strong><\/p>\n I\u2019ve already mentioned that editorial group poses call for more dramatic lighting. In other words, the light tends to be more directional and less soft. In fact, if I want more specular highlights for editorial style lighting, I\u2019ll use a silver surface, like a Profoto Deep Medium Umbrella in Silver<\/a>, to help create that type of light.<\/p>\n Also, for a more dramatic look, I\u2019ll go with a darker ambient light exposure and use the added light to chisel out my subjects. The balance of ambient to added light will vary based on personal preference, which means there are no standard camera settings to use. For this reason, I recommend experimenting with different settings in various scenes to get the look you\u2019re after.<\/p>\n If I really want to control the lighting for these shots, I\u2019ll plan for a composite shot. Shooting for composites can prove challenging, and it requires more time in post, but it also tends to get the biggest (and best) response from my clients. To shoot a composite, have an assistant light small portions of the group at a time and then combine (or composite) the collection of shots together in Photoshop for the final, fully lit group photo. Remember to take a plate shot without the subjects to make it easier to edit out unwanted details or distracting items from the shot.<\/p>\n\n
\n
Mindset over Matter<\/h4>\n
Symmetrical Group Photo Poses<\/h3>\n
\n
\n
Tip 2: Consider the Location<\/h2>\n
Tip 3: Create and Follow a Game Plan for Group Photo Poses<\/h2>\n
Tip 4: Start with the Couple<\/h2>\n
Tip 5: Bring in the Group<\/h2>\n
Just Get Started<\/h3>\n
Balance the Frame<\/h3>\n
Build Layers<\/h3>\n
Create Connection and Flow for Group Photo Poses<\/h3>\n
Tip 6: Become a Director<\/h2>\n
Put Down the Camera<\/h3>\n
Direct for Expressions<\/h3>\n
Tip 7: Light Accordingly for Group Photo Poses<\/h2>\n
Lighting Gear<\/h3>\n
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\n
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\n
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Lighting for Editorial Group Photo Poses<\/h3>\n
Lighting for Symmetrical or Standard Group Photo Poses<\/h3>\n
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