28 Days of Portrait Photography

 

28 Days of Portrait Photography

 

Lesson Info

Day 1: The Natural Light Studio

I love this challenge I didn't realize how much I knew about shooting in the corner of a bedroom until I started to show people the difference this is all about the one a one off natural light it's about putting a corner the flat in the corner of a room and in controlling the light with a diffuse kitten and a polly and polly border of the flatter a reflector of some kind I'm going to take you through right the beginning stat up off just standing next to a window light and how I can make my window like any window like look like a beauty dish in the studio this is how I shoot straight out of camera and you can see the images coming straight out of camera today it's exciting and I want you to really master this so that you can take beautiful natural light portrait so have a look at it out space here I'm in a room that is almost twelve feet wide I've got a nice sort of fairly high stud so I've got a bit of space for light and I'm facing southwest so we're in winter light right now which me...

ans the light is very low and it's going to come around this way so it's going to sit over there and we're currently at around eleven a m so eleven thirty a m so we're in a nice lunch like we're not in afternoon light yet I like to be shooting by t name every day this is the the slide of the day what I need to do is diffuse this light so this room has the nation blind and the first thing I'm going to do is pull them up and get rid of them okay in my camera bag I travel with this piece of fabric so it's a nice large piece off silk organza the reason I used silk organza is its sheer and it's not very shiny so it's not it's not sort of very reflective it's just a really good filter and I carry this with me everywhere because it kills up tight in a ball in my camera bag now I make sure that I always have these here quips which is just here dressing blow dry clips which I keep and I can pin their pretty matched anywhere or have my assistant hold it or have a friend hold it if I need to def fuse any light so this is one of my most favorite things for a natural leftover in my camera bag I also have today some options for you remembering most hotel rooms and have a diffused white kitten end a block out curtain to block lights and most hotel rooms haven't already set up when I sit at my studio my fair studio I covered all the windows and white net curtains it doesn't matter what sort of neat couldn't you get a song is a plane and they diffuse light and you khun bunch them up because that's how the light is outside the more diffuse e you're gonna need on that couldn't so I found these the other day at a secondhand store and up shop here in seattle and they were twenty dollars for four white kittens that these air a really nice sort of cotton or cotton muslim and they were so cheap you confined it couldn't pretty much anywhere so if I want to temporarily hang these up I would just clamp them onto the and they kind of got a bit of a rushing luckily I got four of them so the knick curtain that's pretty great so easy to afford in so easy to find twenty dollars for four large kittens so they will bunch along the in nicely also I put just a cheer and when I purchased a cheer it was wrecked and this fabric I don't actually know what it is it's like a deck crown or a paper a cloth paper if you can't hear it and I've been using this piece of fabric because it folds right down to a small square and I have bean gift taping it to the window because it's allowing in quite a lot of light issue khun see but it is still just leading in this perfect amount of light so I just want to show you one thing when you look at this room see this hard light that's hitting right here that had like there is impossible to photograph in so before I even put a diffuser on I'm just going to take a photograph in this light and try and show you where I would be in the slight and why it's not going to work army s o always carrying nice easy little he clips like this have your choice of diffuses so you can use this class you can buy curtains she can use some magenta and then of course we always carry photography cramps in your camera bag so we can clamp onto anything so just a great way to diffuse light and you do need to be armed with this if you are not going to shoot an artificial light so I'm going to take some shots first and then I'm going to show you the difference and how the diffuse light changes the light to my client and then I'm going to start bouncing light with these big foam core boards here which are just very basic phone call boards I use fan core I use palestine so those are the two boards that I use and anything that's white these have black on the background so they were really great to shoot and defects in the background so let's start with taking a shot with no diffuse light and working our way up into making our client look gorgeous as you can see we have no diffuser on the window and we're standing right here elena is in hard light she's not any hand light you're in half life because it's so much light on you I meet it in camera to your eye and I'm shooting on thirty mac three and I'm shooting on the city five mil when I meet her toe alan I I'm meeting my shutter speeds going at twelve fifty so it's really fast I met two point eight I'm not you start and I made one sixty I so any higher and it's not working as you can see this does not work the shop okay I can expose for the highlight and I can expose for the lila the low light certainly cannot I have to bring her either into the hash light or I have to bring her into the low light so let's take a step away from the window all right so from here as soon as I take it out of the hard light on dh she's still very very close to it so there's a lot of reflected light bouncing up to now I'm gonna take another shot without changing my sittings and obviously I've dropped a stop so I'm just going to toggle back up so that I'm exposing in camera on her eye on one who right eye and I'm going to take another shot at a cz you khun see I've still got hard like coming in on on her right hand side I've still got low light but she has absolutely no light hitting her face now a case of that looks really bad for her and what I'm going to do now is take one more step away from the lights so let's take one more step this way and I'm gonna take another shot I'm still at one sixty I'm still at one sixty two point eight and I was gonna focus on her right eye and take a shot still nothing it doesn't matter the more I get away from the window the softer the light that comes on the light side of her face and still the darker it becomes on the dark side of your face so I need to do two things I need to eliminate the light that's coming from this side and I need to create more light on this side and the only way I'm going to be able to do that is by putting a diffuser here to cut this light down and then see if I can even up the light on her face so now I'm going to do that now I've hung up my couldn't so I'm gonna take another shot and when I come straight up sorry to mccarroll and when I come up uh pretty much exactly the same sitting so I'm at one sixty it's now media extort two point eight and the shadow has slowed down a little bit so still getting I'm getting a match but a diffused light on this side but I still don't like this sides and now what I'm gonna do is bringing a white reflector all right yes you can see right now I now have the perfect amount of light hitting her face that to me is just like a beauty dish light it's nice inflect the face and that is a beauty light for may it is really flattering to all ages it's lifting light the light it's not coming from underneath above it is coming directly forty five degrees to here it is bouncing off this reflector and I can bring that reflected into here and the more I bring it in and the further I take it away you'll see makes such a big difference probably two or three stops to the side of the face and just to prove it I'm going to take a second shot I'm still on exactly the same sitting as I was before so I met one sixty I am now a two point eight I met five hundred in my shutter speed which means that the shadow wind faster when the light bounced in so sorry I got a bank them it was my fault not yours and then I'm just nice smile and just push your chin forward and that to go through there ok now as you can see perfect amount of light now evenly across her face so let's address one major issue here I haven't diffused enough light to the wall and we have this big pattern here on the wall so I'm going to take a shot of that because we do not want that okay so this is a problem that most people run into and I was gonna drop my exposure down to make sure that you can see that written on the wall there it is and we do not want that that copy of patton now that simply means that this area of light here it's still too bright so I'm going to take a second coutant and that's why if you khun bunch fabric or if you can have more fabric in your bag it's going to make life a lot easier when you're on location now remember if this is your home you're going to land the light or this is your home in it this is your studio you're going to live in the light in your studio really quickly it won't take you long to work out what time of the day is the best to shoot and what time of the day you can make this work so I'm gonna hang this up and then we're gonna go from there so now I'm going to take a shot as you can see I have now hung up three kittens there so I'm defusing like there's absolutely no cobweb light on their back wall I'm gonna take a foot off so that you can see make sure it's bigger than the last one absolutely perfect now I'm going to come into here I am going to expose again over her eye I'm going to focus on her I just hand out touch and here we are right here I'm still a two point eight my shutters it two hundred now and I'm at one sixty high so still so if I feel like now I need to lift up my eyes so I'm going to take it to three twenty so everybody knows that the chip works better on one sixty three twenty and six forty s o those of the three episodes that I use all the time I try to never go over six forty is so and so you have to yes I will go eight hundred one thousand sixteen hundred if I have to and if I need more light but really those are the best ice does that I'm trying to get so from hard light to perfectly soft light she is one meter or within one meter from the window she has got a good reflector here so it's bouncing light back to her now I've got a really even lights or it's going on over her whole face now we are in what is called a highlight situation so for me I have taken a room that's got lots of light and at white war white bounce white kitten there's a lot to like coming in and then I've cut the light right back in order to even it out now that I've even did out essentially I'm taking light away even though I've I've distributed the light bitter in the space I've taken light away so what I really need to do now is make sure that my eyes so is high enough to capture the amount of light that I've got in the space so let's compare it to the first image that I took when she had had light and no diffuse light and then we'll have a look at this image here and as you can see she stepped away from the war at the window as she stepped away from the window the light was getting softer and softer but it was also getting harder on her dark side the most significant difference is not just defusing the hard light that's coming through the window but it's bouncing the light back on the left side of her face sorry who live side the right side from us looking at here as soon as you bought on that reflector the light just softened right through the face there and that's where I will shoot if it is a dark a day I would simply step closer to the window and I would not have that reflection refraction of light on the back wall so now what we're gonna do is I'm going teo just take a quick still of this scenario so you can see how soft it is and I'm going to swap sides so I'm actually going to take you to this side of the room and if all the light is hitting that wall then essentially this is the darker side of the room so let's see what we're faced with when we change our reflect to the other side and then let's see what happens when we put her in a colored b flat instead of having her on a white wall so we'll try that now so we set up a green the green gray the flat here in the corner which is going to change my backdrop color then what I've done is I've taken the double up getting off the end and I've just put it along here now you can see the white light on this wall has come back again but that doesn't bother me because if my client stands right here that white light is going to reflect back to hear when I bring the reflector into here the white light is gonna bounce off that white wall bounce into reflector and come straight back to her face here so I'm going to show you now what the darker side of the room looks like what it looks like on a gray green and then I'm going to introduce a reflector again and show you the distance between the window in the diffuse light window and where she can stand in the spectrum because she should be able to stand at least a meter away from the window and she should also be able to go back into this little alcove here as you can see these at one point too wide so it's a very small shooting space if there wasa bid in this room I would push the bead as far as I could that way and just use this corner to shoot I can input any color the flat is any color I can paint these so the phone call comes and white and black so already I have two corners I've painted this one a great green I have a powder blue and the gold so any color that you can create and make in any color you can transport if you are going on location that would be you biggest consume is if you were shooting in a hotel room and you couldn't transport the flats if you are in a set up studio or shooting at home in a home studio you can have as many of these as you like if you're going to a hotel you are gonna have to use the wall or the wallpaper that the hotel has so I seduced you go and check out the room first if you're going to do a shoot there all right let's have a look without a reflector were on the dax out of the room the light is over there it is hitting this wall I have got one little diffuse light on both sides away long and we've put a leaflet with a knife gray light there so what I want you to do is come to the edge of this that's perfect now this is where the light is at its hardest because you're right on the edge of the wall so in a highlight situation when you got lots of light like this you can bring here right to the edge and I'm gonna take a shot too you can see does it clear what's going on here and just focus I am at two point eight I'm at two hundredth of a second at six forty and have a look at that no reflector but such beautiful light because we're on the dockside off the room but we've got lots of light bouncing off this white wall all the way around here so now if this light is getting too strong which it just went up just show me this way I want you to take half a step back okay I'm gonna take another shot and now take another half a step back keep going a little bit more so technically she is right out of this light now and have a look I'm not going to change my expression it's not changing I'm getting such a beautiful bounce all the way around here I always do not need a reflector so to me this is what I call a soft beauty light this is such gorgeous fied so easy to shoot him the only time that I'm gonna have a problem take one more step back is as alan gets closer to the background whose shadow was going to pick up from any light source but because it's bouncing from this direction back there tio here instead of just straight on her she's not even getting much of a shit on the back also I'm going to show you what I'm saying because I beer they say push it in four darling that's it perfect that may as you can see bailey a shadow so I can shoot anywhere in this face right now and it looks amazing if it was a really low light day she wouldn't really be able to stand it that back wall without a big reflector here so I'm gonna show you where I would put the reflector come and stand on this wall this side and now turn your back that's it now come towards may okay right to the edge stop not to christ now bring your chin this way just have a look at the light here so the closer I bring here that way and bring you to this day stop the closer I bring her to the edge of this backdrop the bitter the lights and down just a little bit and work your children in my show them they really do it now very dearly take a step away from a stop see she's gone into that low light and I actually think that makes it look flatter so let's have a look at the difference between those two images I definitely like the stronger light so bringing her back to the light was better let's do this exact same shot with a reflector and now it's very unusual when somebody's filming you to be filming so in such tight quarters but that's the good thing about what we're showing you today is that you consider the studio in a very small room and it can be absolutely perfect for what you need to do that you could do an entire shoot in one corner so one corner with good light good diffuse light and remember if it was a rainy day and it was really low light then I simply would be up in my eyes so I would be happy my I just make sure that everything my shutter speeds going to slow down but never let it get under forty or thirty handheld so I'd have to go to mon apart tear up your eyes so these cameras are incredible they shoot in the dark now so you just up your eyes so just watch it does give you noisy images and just try and bounce in as much light as you can see I'm going to bring in a reflector and see what changes in this corner have a look at this all that then is born in this big wide reflector board here this reflector here is picking up all that light from the window and it's bringing it back to her face this side I can bring the senator's muchas I want in fact the more ice around my clients or if victor's the safer they feel and species there's other people in the studio I could bring it right in this way and the more light that I reflect back to her face the bitter it's kind of look so now I'm going to take a shot and I'm going to compare it to the non reflected shot in the same exactly the same position in see the difference so just bring your chin around this way to let it perfect I'm if now long chin towards me with that children give me tip good girl don't make chin down this way right I have this beautiful reflector can bring that right into the and I'm bouncing light let's take a shot and compare it to the one that we had before and you are right on the edge off that reflector board so bring your chin down its it now my camera is reading it two point eight still and we are at six forty so so I could bring my eyes idea but let's have a look I'm well okay so we're just going to compare this image to the first one completely different light when she's on the each of their board and not so I feel like it's very difficult to tell in this position here where the light source is coming from because it is just hitting its so evenly now and it's absolutely beautiful I really love this so what I'm gonna do is I'm going to just play with a little bit more I want you to bring your chin how to down that way good girl don't move now this time I'm going to come a little closer it's relaxing mouth lips to give up her face out there absolutely beautiful I could just keep moving around this light as you can see this is coming straight off my camera so I'm going to show you the raw file I'm shooting at two point eight so you can see that beautiful deep the field from here I line right down to her front kill you can see the drop away on her bed girl you can see the light in even the contrast that's hitting the backdrop from dark to light looks beautiful so let's see how far we can move her around in here I want you to take a step forward and no step for two years stop and I'm just kind of removed I'm going to just move this reflected back a little tham perfect okay now I just want you to bring your chin forward that's the one now bring this shoulder forward chin down a little stop I'm gonna take a shot here nothing has changed um still that four hundred shutter speed on the two point eight minutes six forty I'm just saying to down a little touch allen beautiful don't move okay from there I've still like this if I compare it to when she's closer to the wall the light is a little harder but nothing to worry about now I want you to take a step directly away from me okay now you just saw the light drop away from her face which was amazing to see but if I bring this reflector and here and I might even cross the camera a little bit here I just need to show you the example so I'm going to show that original shot and then chin forward and down okay tip this way slightly it not so far and with that shoulder to go perfect now these pulis bags who got something to look at absolutely incredible what just changed the I took here away from the each of that reflector so I pushed her back what one step c that and look at the difference between the shot before and the shot after and I like both I like the open light and the flatness and I like the contrast around her face both of them work for me both of them still are really flattering to her face now let's tune her flat to may and let push her back one more stiff now she's really going away from any direct light the only light that's really hitting her now is the light that's reflecting off that reflector and the light that's reflecting off the back wall so I'm just going toe room I'm going to move the reflector again someone across over and I'm just going to push it right back and if I cap here off from the camera this way perfect it doesn't matter because I need this reflector is more important to my client so let's have a look what I can see here chin ford and down one and just bring those elbows in that's a go now chin down attach stop now here I'm at one more two point eight still my shadow has slowed down I love this I'm gonna open this back out and I want you to take one big step towards may stop I want you to push your chin down there now I fought him back to the edge in the center and this time I'm shooting at okay my shutter speed I just went up to full stops then so I'm gonna bring it right back down two point eight my shutter speed is now at six forty the case it chin down beautiful let's look at the difference between those two so just like that one step and look at their when she's ford we're exposing on the face in the background grows darker when she steps back exposure goes up and then we're exposing in the background gets lighter two completely different looks and natural light I absolutely love them let's challenge this light situation one more time I'm going to bring in one more v flett in this time I'm going to block light all right I've put this phone call here to really simulate low light so this is what happens in low light there's a very small light source here and it's made the light a lot harder all of a sudden and now I'm struggling too divine light so I'm going to show you the difference take one more step back and so now I still have my reflector I just have a lot less light coming at the front of here so I'm just going to take a shot here so I can put it up with the others now I'm changing my exposure because I am now it's stolen two point eight at six forty but now the shutter speed it about three twenty so as you can see I'm still getting an even ish light because that reflector is really saving me stick towards the reflector stop now you're on the edge of that light again and you can see I can fear shadow around allen's nose on the side because this light sources harder and there's not enough reflected light so the only way I can soften their is to bring this reflector closer to here so I'm just going to bring it in closer closer closer closer their stuff okay now if across that camera I'm going to show you the difference so when I'm struggling for light I'm going to bring my client to the age I'm going to bring the reflective right and I'm just going to take a still from back here I want you to see how box and she is because it's very important that you see how close everything is she's really in their little corner so chin forward and down but in order to get beautiful light I have to bring that reflect in nice and close to her ten down a bit more that's it perfect and I should be able to get a very similar light source to the one before which is there and I am it's not quite as soft so that's what I would do if I was struggling for light I could just bring this reflector and closer I could make sure that I bounced us much light as I can around the room and it just got to make sure that there's no hard shows on her face because if you're shooting that beautiful beauty light type look nice flat open light to the face this is where you want to be it's always about bouncing light in this situation here I would have a little half with victor and I would hold it or put it on a box to bounce like their captor here I would surround her in white card now all of the people right now who are saying what if we just put a speed light in there or what if we just put a fresh fill in there what if we just put um you know and I slight in there you can do all of those things that is not the look I always have but it is definitely something that you can do so right now this is about natural light studio it's about setting up the most beautiful beauty light I'm on the on the smallest budget and making it look exactly like she just stepped out of a magazine I'm going to replicate exactly the same corner in a bigger space this is about having a largest studio space we're now in a twelve foot stud that means we have more light coming in and more light bouncing around it's absolutely beautiful in here right now I've got deflect everywhere on bouncing light but I just want to show you in relation to wish she is on the wall with this light source here her main light source is coming from her right and what I've done is I put this fabric remember the one that was in the packaging I've put this over the window and the reason that I've done that is so that I can defuse the amount of light that's coming to here so without a reflector I'm just going to do exactly the same thing I'm just going to take a shot straight to me I think that's it from there I'm just going to focus on your right eye I'm still at six forty so I am at six forty two point eight now as you can see by this image there is it's a I've got a good even light but they still liked to contrast around to face even if I bump up the exposure a little weed but it's here take it up one stop and my shutter speed is now at three twenty we'll take that it's still there I can still see I share around her nose I can still see a shadow under her nick now to make it look more like a beauty dish all I had to do is bring in the steel plant so I'm just gonna bring it into here and I'm just gonna bounce that and I'm gonna open this up okay all I'm going to do now is even out the amount of light that's touching here so you're going to lose sight of here for one second I'm just going to show you the difference because I don't I want you to see health and pull and how quickly we change that so as you can see by image one an image too image one an image to we've pretty much gone up one or two stops around the left side of her face so step towards me elaine so I'm bringing you right to the edge of the light and even closer to the reflector I'm going to take one more shot here so I'm stepping her away from the wall there it is there in one two three so I'm going tio here and I met two point eight I'm still at three twenty shutter speed and there it is there so when I look at one two in three you can see the difference between having no reflector having a victor and then stepping her away from the war absolutely perfect too easy so I'm just going to drop that back so you can see now I'm just going to show you the same green corner and I'm going to actually cover up my main light source and use the light that's in the rest of the room so I'm going to bring in this big polly board here on I'm going to put it here that so this was my studio space every day I could have multiple polly board it's all different colors and create multiple corners that I could shoot him well I need to do is make sure she's in the right amount of light okay so from there just gonna do this quickly there now I'm going to just proof it hard up against there perfect done there it isthe nice and easy now straight away I can see a shadow on her back wall because it's now relying on the light source that's coming from the back of the room over there now I can change that light by just bouncing boards around so I'm gonna move this across and I'm gonna open this back up okay from here you can see this nice big wide open space now exactly the same corner I want teo no if victor step forward stop as soon as you step forward into the light I can see it like you up and the light is coming from all around me behind me now it's actually perfect chin down I don't actually need to bring in a reflector here at all the lights off in this big space is so perfect let's just take one shot so don't move I'm just going to bring this reflector in was going to come this way open that are you and that's it pushing it forward towards me tip perfect move okay I'm just gonna take one shot and see the difference long chin gil so bringing the reflector and put a shadow on the backdrop and let's compare those two shots actually prefer the first one we didn't need to bring in the reflector we're getting such a nice even light it's pushed it back right here and it's safe we can move her round in this v shape I want neither into step back to this wall perfect now just watching the light on her face I want you to come into the light that's it put this hand behind you that work the shoulder up not that don't tip backwards bring your chin ford that's one stay there and I'm just going to come into here you'll no hear now when you need to bring in a reflector or not you can see how much light is hitting your face it's really really important that we um make sure that she's well lit chest chin down that she's well it from both sides and that we're exposing for that face we're exposing I'm focusing on the I I toggle down my exposure is so I'm kind of I'm actually two point eight two hundred still at six forty take a step back out of that light perfect long chin even in a bigger room the room is performing almost exactly the same there's a smaller bedroom chin down when she's away from the front the like it's darker and fleder that we can still move around tune flat to me yeah step into the middle inning step backwards stop so that's right at the back of the frame elbows back okay long chain stop I'm just going to come into here chin down a bit okay pull back here leaning forward don't name for just your chin for downtown tinder that's it stay there tiny little find the eyes good gil get lips together that's it perfect perfect and we'll compare that okay we've got quite a bit of jack and they take a big step towards me right to the edge stop down can you see now what's coming out of our camera natural light hell beautiful that is I love this image this to me is beautiful daylight I think all I have to do now to make this a gorgeous shot is to just put a beautiful expression on her face is to put beautiful sort of here around your face to me that light is gorgeous I don't even have to have a reflector straighten your hair up to may come back halfway long chin towards me and down don't move there okay and from there I just need a gorgeous little turtle of a smile in your eyes good girl that is so beautiful soften your eyes for me a little bit more and that is absolutely gorgeous look at that gorgeous gorgeous alright from there let's let it natural like studio basic corners working the corners using the corners to pose in this program you're gonna learn all about posing in corners posing on the wall the beauty of what I do is I shoot and very close quarters I can shoot in basically three by three meters or two and a half by two and a half I do not need a lot of space to create an entire folio what I need is the best amount ofthe diffused in bounce light so everything I do comes down to making sure her face is square to the camera and making sure there is an even amount of light on both sides everything you've learned about flashlight in rembrandt lighting goes out the window when you're shooting this style of photography this style of photography is about replicating a beauty dish with a polystyrene board or a gator find board and just making it look is beautiful and open to the face as you can open up all sides of the face and remember when you photoshopped somebody's face you don't remove bags and the people's eyes you remove shadows underneath bags so if you like the face well you have a lot this photo shop to do and all of your images should look like this coming off camera so as a forty year old and myself is a forty year old we were just joking in the break that really uh with a bit of photo shop and a good reflector we still look nineteen

Class Description


Sue Bryce's 28 Days is the all-in-one portrait photography class that teaches you posing, shooting, marketing, selling, and everything else you need to know to run a successful contemporary portrait photography business. 

This series begins with two sessions of intense instruction on business, pricing, and overcoming your fears. Following the kickoff, Sue delivers short sessions exploring 28 different topics essential to any successful portrait photography studio. Sue covers flow posing, connecting with clients, posing and shooting groups, marketing to your key demographic, sales, and more.

In this comprehensive series you'll learn Sue's inspiring approach to styling, posing, marketing, selling and so much more!

Lessons

1Teaching 2 Photographers in 28 Days
2First 2 Years: The Truth
3Rate Your Business
4Year One in Business
128 Challenges
2Fear
3Price & Value
4Checklist, Challenges, and Next Steps
1Day 1: The Natural Light Studio
1Day 2: Mapping Your Set and Outfits
1Day 3: One Composition - Five Poses
1Day 4: Flow Posing
1Day 5: Posing Couples
1Day 6: Capturing Beautiful Connection & Expression
1Day 7: The Rules - Chin, Shoulders, Hands
1First Weekly Q&A Session
2Day 8: Rules - Hourglass, Body Language, Asymmetry, Connection
1Day 9: Styling & Wardrobe
1Day 10: Shooting Curves
1Day 11: Posing & Shooting - Groups of 2, 3, and 4
1Day 12: Posing & Shooting Families
1Day 13: Products & Price List
1Day 14: Marketing & Shooting the Before & After
1Day 15: Phone Coaching & Scripting
1Second Weekly Q&A Session
2Day 16: Posing Young Teens
1Day 17: Marketing & Shooting - Family First Demographic
1Day 18: The Corporate Headshot
1Day 19: Glamour Shoot on Location & Shooting with Flare
2Photoshop Video: Glamour Shoot on Location & Shooting with Flare
1Day 20: Photoshop - Warping & the Two Minute Rule
1Day 21: Posing Mothers & Daughters
1Third Weekly Q&A Session
2Day 22: Marketing & Shooting - 50 & Fabulous Demographic
1Day 23: Shooting into the Backlight
2Bonus: Shooting into the Backlight
1Day 24: Marketing & Shooting - Girl Power Demographic (18-30s)
2Photoshop Video: Girl Power Demographic (18-30s)
1Day 25: The Beauty Shot
2Bonus: Vintage Backdrop
1Day 26: Marketing & Shooting - Independent Women Demographic
1Day 27: Sales & Production
1Day 28: Posing Men
1Bonus: Pricing
2Introduction
3Photography, Style, Brand, and Price Part 1
4Photography, Style, Brand, and Price Part 2
5Marketing Part 1
6Marketing Part 2
7Money: What's Blocking You?
8Bonus: The Folio Shoot
1Photo Critiques Images 1 through 10
2Photo Critiques Images 11 through 27
3Photo Critiques Images 28 through 45
4Photo Critiques Images 47 through 67
5Photo Critiques Images 68 through 84
6Photo Critiques Images 85 through 105
7Photo Critiques Images 106 through 130
8Photo Critiques Images 131 through 141
9Photo Critiques Images 142 through 167
10Photo Critiques Images 168 through 197
11Photo Critiques Images 198 through 216
1Identify Your Challenges
2Identify Your Strengths
3Getting Started Q&A
4Rate Your Business
5Marketing Vs Pricing
6Facing Fear
7The 28 Day Study Group
8Selling Points
9Interview with Susan Stripling
10Emotional Honesty
1Sue's Evolution
228 Days Review
3Student Pitches
428 Days Testimonial: Mapuana Reed
5How to Pitch: Starting a Conversation
6Your Block: Seeing is What You're Being
7Your Block: Valuing and Receiving
8Building Confidence: Your Own Stories
9Building Confidence: Your Self Worth
10Pitching An Experience
11Pitching An Experience: Your Intentions
12Pitching An Experience: Social Media
13Final Thoughts