The poses here run from the hands-in-pockets stand to squatting, and the right one depends on what you’re wearing and what’s behind you, which the Clothing and Styling section covers.
Pick the outfit and the backdrop first, then the pose, and the stiffness mostly takes care of itself.
1. The Hands-in-pockets
Hands in pockets works because it gives the arms a job. Without one, hands hang awkwardly and the shoulders tighten.
Keep the thumbs out, or push the hands in only to the knuckles, so the blazer doesn’t bunch. Looking off to one side, instead of straight at the camera, keeps a hands-in-pockets pose from looking planned.
I prefer one hand in and one out when the jacket is buttoned, since two full pockets can pull the fabric across the hips.
2. Crossed Arms
Crossed arms read as authority, and they also give a beginner somewhere to put his hands. That makes this one of the easiest poses to hold for a long shoot.
Tuck the hands lightly into the elbows instead of gripping, and let the shoulders drop. A tight clench looks defensive.
On a loose tee, crossed arms also show sleeve length and how the fabric falls, so the pose works well with casual outfits. Add a slight smile if the mood needs softening.
3. The Lean
A wall does half the work in this pose. Lean a shoulder or your back against it, and the body relaxes into a natural line.
Cross one foot over the other, and keep the weight on the leg farthest from the wall. Stand a few inches off the surface rather than pressing against it; it looks easier and keeps clothes from rumpling.
Sunglasses, as above, help a stiff face look at ease. A flat, textured wall like wood slats gives clean lines behind the subject.
4. Hair Tousle
Running both hands through the hair gives a photograph motion and a bit of humor. It works best when the face stays calm and the eyes stay on the lens.
Shoot it in bursts, because the best frame is usually the half second when the hands are mid-motion, not still.
Lift the elbows slightly so they don’t hide the jaw. Messy hair is part of the look, so don’t fix it between frames; I like it better each time it gets looser.
5. Reclining Against a Surface
Sitting back into a sofa, one arm along the backrest and legs crossed, shows a man who is in no hurry. It suits tailoring like a blazer and light trousers especially well.
Sit slightly sideways, not square to the camera, and angle the torso toward the lens. Unbutton the jacket before sitting so it doesn’t ride up.
Keep the crossed ankle resting on the opposite knee or just above it; a loose cross looks better than a tight one. Outdoor furniture adds texture without crowding the outfit.
6. Hand Touching the Face
Where the hand lands decides what the eye sees. A fist under the chin frames the jaw, while fingers over the mouth hide it and make the eyes carry the picture.
Try a few placements: chin rest, cheek, temple, lips. Keep the touch light, since pressing the face pushes skin out of shape.
Turning the body away into a three-quarter view adds mood, and it keeps the hand at the face from looking stiff. I’d choose a sleeve-rolled forearm in a white shirt; it adds a clean line to the frame.
7. The Thinker
A chin resting on crossed forearms reads as quiet and a little distant, which is why it suits a plain background so well. Nothing competes with the face.
Look past the lens, not into it, and let the eyes settle on a point just off frame. Keep the shoulders loose and the jaw relaxed; a clenched face turns thoughtful into sulky.
Rest the chin lightly so it doesn’t push the cheek out of shape. I’d shoot a few frames with a half smile too, since the serious version can go stiff after a minute.
8. Casual Walk
Walking toward the camera gives a frame motion that a standing pose can’t. Plain clothes and a plain wall are enough, because the movement supplies the interest.
Start several steps back and walk at an ordinary pace, not a slow stage march. Shoot in bursts and keep the frames where one foot is mid-stride and the arms swing loosely.
Let the gaze drift to one side now and then so it doesn’t feel staged. A cap shades the eyes, but check that the brim doesn’t hide the face in every shot.
9. Sitting Backward in a Chair
Straddling a chair backward puts the arms on the backrest and the chest open to the lens. It is one of the quickest ways to make a seated shot feel casual.
Rest the forearms on the top rail and keep the knees wide enough to feel stable.
Raising one hand behind the head adds a second line to the frame, though I’d keep the elbow low so it doesn’t crowd the face.
A simple knit like a turtleneck looks clean against the wood. Angle the chair slightly instead of squaring it to the camera.
10. The Stairs
Stairs give a pose levels to work with, and concrete steps with a metal railing add hard lines that soften a relaxed figure.
Sit or stand a step or two up so the camera shoots slightly upward; the legs look longer that way. Rest a hand on the railing or behind the head to fill the frame without stiffness.
Tonal outfits, like denim on denim, keep the eye on the person and not the busy geometry. Move to a different step between sets for a new angle.
11. The Strut
The strut is a walk with intent: chin level, stride long, eyes forward. On a busy street it separates the subject from everyone blurred behind him.
Walk a little faster than feels natural, and keep the shoulders back. Hands in pockets work if the jacket is open, as in entry 1, but I’d take them out for a few frames to show the swing of the arms.
Wide-leg trousers suit the strut, because the fabric swings with each step and makes the walk look bigger on camera. Shoot from low, at about waist height, to add presence.
12. Squinting Eyes
A light squint tightens the eyes and sharpens the jawline, so a quiet portrait gains intensity without any big gesture.
Raise the lower lids slightly, as if looking into soft sunlight, and keep the brow relaxed. Overdoing it reads as scowling.
Check that the hands sit below the jaw so they don’t cut it off. A textured knit in a pale color keeps the focus on the face.
13. Sunglasses Pose
Dark lenses hide the eyes, so the pose has to come from the rest of the body. Tilt the chin up a little and let the shoulders sit loose.
Shooting from low, with a railing or wall in front of the subject, adds a layer to the frame.
Wipe the lenses first, because smudges show up in close shots. A plain black top keeps attention on the frames, which is the version I’d choose.
14. Squatting
Squatting drops the body low and spreads the knees, which gives even a formal suit a stronger, more grounded look.
Let the forearms rest on the thighs, and keep your back fairly straight so the jacket doesn’t bunch at the shoulders.
Unbutton the jacket first so it doesn’t bunch at the chest. Looking straight into the lens makes the pose feel confident, while a glance to the side makes it calmer.
A grass lawn or a plain wall behind you keeps a dark suit from disappearing into the background, so pick the backdrop before you pick the pose. Shoot from about eye level.
15. Hand Behind the Head
One hand resting behind the head opens the chest and lifts the elbow, and the shirt falls open with it. An unbuttoned collar suits that loose, relaxed shape.
Keep the raised elbow slightly forward so it doesn’t vanish behind the head. Let the other arm hang or slip into a pocket.
I’d keep the touch light, with the fingers resting on the hair and not gripping it. A wood wall behind a cream shirt adds warmth without clutter.
16. Hands Behind the Back
Hands behind the back pulls the shoulders open and clears the front of the outfit, so the clothes get the full view. Wide-leg trousers and a white button-down show their lines best this way.
Hold one wrist with the other hand, loosely, and stand with the weight on one leg.
Tilt your head a few degrees to one side; that small shift is what separates a relaxed stance from a parade-ground one. Stone or cobblestone adds texture underfoot.
17. Holding Jacket Lapels
Taking hold of the lower edges of a blazer lets you swing it open and show the shirt underneath.
Pinch the fabric lightly with the thumb and fingers, and pull outward only a little. Too much pull wrinkles the front.
Sunglasses help here, as in entry 13, since the face can stay still while the jacket does the work. Try a second frame with one hand dropped, because a pose with both hands busy can feel stiff after a few shots.
18. Hand Touching Hat Brim
Touching the cap brim gives the hand a clear job and shades part of the face. Looking down, as the pose often does, turns it into a quiet, candid frame.
Use 2 fingers on the front or side of the brim, and keep the wrist relaxed. A flat cap sits low on the head, so tip it up a little and make sure the brim leaves your eyes visible.
A bag in the other hand adds a sense of someone mid-errand. I like a bright jacket under a patterned cap, since the color pulls the eye down the frame.
19. Sitting with Legs Crossed
A tuxedo changes what a crossed leg means: in black tie, it reads as composed and a little old-fashioned. Wood and leather in a dim room add to that mood.
Cross at the knee, not the ankle, and turn the knee slightly toward the lens so the trouser line stays clean. Unbutton the jacket before sitting, as in entry 5.
Looking off to one side keeps the formality from feeling stiff. I’d rest one hand on the chair arm and leave the other loose.
20. Hand on the Collarbone
One hand resting on the collarbone draws the eye to the neck and shoulders, so it suits a plain tank top better than a layered outfit. Warm, directional light adds depth to the skin and the line of the arm.
Keep the fingers relaxed and the touch light, as in entry 6, so the hand doesn’t press the skin.
Drop the other shoulder a little and turn the body slightly away from the lens. I’d keep the chin level and the gaze steady, since the hand already supplies the drama.
Posing Tips for Men
Front-on, aim for a V: shoulders wide, waist narrow, like an inverted triangle. That shape reads as strength, and it holds up even in a basic white T-shirt with nothing else going on.
From the side, think of a C. Stand at a wall and lean forward from the chest toward the camera, with the hips pushed back. The chest and shoulders come forward, and the waist looks slimmer.
Aim for cool, not pretty. Holding a fashion pose in front of the camera feels odd at first, so expect to practice before it looks natural.
Comfort in your own skin matters more than muscle. A relaxed body beats a stiff one every time, and a stiff pose looks worse than a slightly imperfect one.
Facial Expressions
Match the face to the body. A serious pose with a goofy grin looks like 2 photos stitched together, so decide the mood first and let the expression follow.
Practice combinations in a mirror or on your phone camera.
Take the same pose with 3 expressions: calm, half smile, and a harder look. Then keep the pairing that looks most like you.
Pay attention to hand placement near the face, since it changes the story.
A hand at the chin feels different from a soft touch on the cheek. Fingertips along the jawline or cheekbone look natural, near the corner of the mouth feels contemplative, and at the temple feels more mysterious.
Touching your face also helps when a smile feels forced. The movement gives you something to do, and the expression usually relaxes on its own.
Clothing and Styling
Pick clothes that play up what you like about your build and quietly hide what you don’t. Fit does most of the work here.
Fitted tops exaggerate your shape, good or bad, so wear them when you’re happy with it. Oversized pieces add width to a very slim frame, and layering adds size and bulk the same way.
A few small swaps help. Shoulder pads widen a jacket’s line across the top, a turtleneck frames the jaw and makes it look cleaner, and trousers that sit low on the hip stretch the torso, so it looks longer.
If you’re unsure, try 2 outfits in the same pose and compare the photos. The one that makes your frame look balanced is the one to wear.
Frequently Asked Questions
What are some good poses for male models?
Hands in pockets, crossed arms and a lean against a wall are the easiest to start with. Every one of these gives the arms a task, and that lets the rest of the body settle into an easy line.
How can I look more confident in photos?
Crossed arms and a level chin read as confident, and a stiff body undoes it fast.
What should I do with my hands while posing?
Give them a clear job: slip them into pockets, fold them into crossed arms, or touch your face, hat brim or a jacket lapel.
Press hard on a jaw, a lapel or a pocket edge and both skin and cloth go out of shape, so keep the contact light.
When both hands are busy and the pose starts to feel stiff, drop one for a frame.
How should a man stand to look good in front of a camera?
Face the camera in a V shape: shoulders wide, waist narrow. A loose, slightly off-center stance reads better than a rigid one, and stiffness is what a camera picks up first.
What facial expression works best for male poses?
Match the face to the body’s mood. A hand near the face changes the story, too.
