Skip to main content

Day 19: Glamour Shoot on Location & Shooting with Flare

Lesson 29 from: 28 Days of Portrait Photography

Sue Bryce

Day 19: Glamour Shoot on Location & Shooting with Flare

Lesson 29 from: 28 Days of Portrait Photography

Sue Bryce

most popular photo & video

buy this class


Sale Ends Soon!

starting under


Unlock this classplus 2200+ more >

Lesson Info

29. Day 19: Glamour Shoot on Location & Shooting with Flare


Class Trailer

Day 1


First 2 Years: The Truth


Teaching 2 Photographers in 28 Days


Rate Your Business


Year One in Business


Day 2


28 Challenges




Price & Value


Checklist, Challenges, and Next Steps


Day 3


Day 1: The Natural Light Studio


Day 4


Day 2: Mapping Your Set and Outfits


Day 5


Day 3: One Composition - Five Poses


Day 6


Day 4: Flow Posing


Day 7


Day 5: Posing Couples


Day 8


Day 6: Capturing Beautiful Connection & Expression


Day 9


Day 7: The Rules - Chin, Shoulders, Hands


Day 10


First Weekly Q&A Session


Day 8: Rules - Hourglass, Body Language, Asymmetry, Connection


Day 11


Day 9: Styling & Wardrobe


Day 12


Day 10: Shooting Curves


Day 13


Day 11: Posing & Shooting - Groups of 2, 3, and 4


Day 14


Day 12: Posing & Shooting Families


Day 15


Day 13: Products & Price List


Day 16


Day 14: Marketing & Shooting the Before & After


Day 17


Day 15: Phone Coaching & Scripting


Day 18


Second Weekly Q&A Session


Day 16: Posing Young Teens


Day 19


Day 17: Marketing & Shooting - Family First Demographic


Day 20


Day 18: The Corporate Headshot


Day 21


Day 19: Glamour Shoot on Location & Shooting with Flare


Photoshop Video: Glamour Shoot on Location & Shooting with Flare


Day 22


Day 20: Photoshop - Warping & the Two Minute Rule


Day 23


Day 21: Posing Mothers & Daughters


Day 24


Third Weekly Q&A Session


Day 22: Marketing & Shooting - 50 & Fabulous Demographic


Day 25


Day 23: Shooting into the Backlight


Bonus: Shooting into the Backlight


Day 26


Day 24: Marketing & Shooting - Girl Power Demographic (18-30s)


Photoshop Video: Girl Power Demographic (18-30s)


Day 27


Day 25: The Beauty Shot


Bonus: Vintage Backdrop


Day 28


Day 26: Marketing & Shooting - Independent Women Demographic


Day 29


Day 27: Sales & Production


Day 30


Day 28: Posing Men


Day 31


Bonus: Pricing




Photography, Style, Brand, and Price Part 1


Photography, Style, Brand, and Price Part 2


Marketing Part 1


Marketing Part 2


Money: What's Blocking You?


Bonus: The Folio Shoot


Day 32


Photo Critiques Images 1 through 10


Photo Critiques Images 11 through 27


Photo Critiques Images 28 through 45


Photo Critiques Images 47 through 67


Photo Critiques Images 68 through 84


Photo Critiques Images 85 through 105


Photo Critiques Images 106 through 130


Photo Critiques Images 131 through 141


Photo Critiques Images 142 through 167


Photo Critiques Images 168 through 197


Photo Critiques Images 198 through 216


Day 33


Identify Your Challenges


Identify Your Strengths


Getting Started Q&A


Rate Your Business


Marketing Vs Pricing


Facing Fear


The 28 Day Study Group


Selling Points


Interview with Susan Stripling


Emotional Honesty


Day 34


Sue's Evolution


28 Days Review


Student Pitches


28 Days Testimonial: Mapuana Reed


How to Pitch: Starting a Conversation


Your Block: Seeing is What You're Being


Your Block: Valuing and Receiving


Building Confidence: Your Own Stories


Building Confidence: Your Self Worth


Pitching An Experience


Pitching An Experience: Your Intentions


Pitching An Experience: Social Media


Final Thoughts


Lesson Info

Day 19: Glamour Shoot on Location & Shooting with Flare

So many people say to me, what if I don't have a studio? So today I'm taking my style of glamor photography on location, and I want you to do the same thing. We are going to look for flat walls, we're going to look for corners, we're gonna look for easy, beautiful light, we're gonna look for good locations, and we're gonna look for sun flare. Let's go and create amazing, gorgeous portraits outside. Hi, everyone. We're shooting outside. We're shooting outside today, and we're trying to replicate what I do in studio outside. Can you do it outside? Can you create the same looks? So let's have a look. First of all, found this amazing, amazing alley way. Got this beautiful dead ivy on he walls. I only have a very limited space that's not in direct sunlight. Clearly I cannot put her in the light, but I'm gonna show you that I can't put in the light and why, so I've got this block here, and I would have that perfect there, but I have a car in my way. So obviously I can't shoot there. I've got...

here about a meter and a half away from the backdrop, and the reason I've done that is I'm shooting her at 1.8. Let's have a look at the reason why. When I shoot up here... Okay, Amanda, I just want you to stand nice and tall and bring your chin towards me. Flat hands. Yeah, now stand up straight and just bring your chin forward and down, just your chin. That's a girl, stay there. Tip this way slightly, and forward and down. When I'm here and I focus on her eyes, have a look at this. I'm at 1.8. See that beautiful dropaway on that background? Let me put my F-stop up to 2. and see what I'm gonna get. Obviously I have to adjust my shutter speed, chin forward and down. And there I have that, chin down a bit more. That's at 2.8. Okay, still getting a nice dropaway. Let's push it up to, F-stop up to 4.0, because I'm on my 35 mil, which is a 1.4 lens. Okay, chin forward and down. And give me a slight tip. That's a girl, stay there. Little wee smile in your eyes, gorgeous. All right, and at 4.0, I've still got a light dropaway, but my preferred F-stop here is gonna be 1.8 or 2. 2.8's good, 1.8 might be pushing it a bit far with the eye. Have a look at this. What I'm about to do is change something. Stay there for a second. She's got no bounce coming into her. We're all ambient light. So I'm gonna push your chin forward, Amanda. Stop. Oh, you've got a little teardrop. Good girl. Okay, let's get a tiny little smile in your eyes now. I'm gonna stay exactly still and I'm gonna bring a reflector in. So bring the reflector right in like this, up and under, and have a look at this. I won't change my exposure. And I've just jumped up an entire stop up under her eyes. So pull it down, reflect back up. That's it, push your chin towards me. Good girl. Don't go down with your head. That's it. Now, chin forward and down. That's the one, stay there. Beautiful. Have a look at that light bounce up. We're at 2. Now, check this out. I don't have a fan. I do need a tissue, so... Can you get me a tissue? She's just having a little bit of a leaky eye. I don't have a fan on location, so I'll show you the best thing, better than a fan, and that is a reflector. Okay, I want you to keep, just push your chin towards me. That's a girl. Stay there. I don't know why you're suddenly leaking. Sun. That's right. Okay, push your chin towards me. Don't move. Tiny little smile in your eyes. Less than that. Good girl. Okay, I want you to fan that reflector for me, Christine. Really fan it. I'm gonna get it on the down, so relax your eyes, trying to, good girl, there it is. And big fan, nice big swoop. Good girl. So if you can't take a reflector with you, if you can't take a fan with you, best thing you can do is fan her like this. I will pretty much fan it. I will do anything it takes to get this hair. Okay? So I can get her hair to fly, and I'm getting it on the down fan, so when I'm down, I'm reflecting light back to her face. So if you can see that effect, come here Sean, and stand in my position, and just film her to the face, and just watch that reflector go. I've just got a leaky eye. I've just got makeup in the eye. That's all right. So the hair comes forward. And you watch the difference in Sean's camera when I bring that reflector up. You know, two stops to the face, just like that, so making sure you've always got a little reflector in the car, and I can fan it and get light as well. Dual purpose. Woo hoo. (laughing) Outdoor glamor. All right, let's try one thing. Let's push you back here. Twigs, yeah. All right, there. And I am at 2.8 in my camera now. Oh, I'm liking, the wind's picking up here even without the fan. Bring me a reflector, Christine. Push your chin forward a little wee bit, honey. That's the one. Tiny little smile. Okay, up and under. Making sure you're looking for that light. That's it, don't tip your head away from me, Amanda. Push forward and down. Down, down, tiny little smile, that's the one. Okay, I love that. Now, this close to the backdrop, straighten up your head again. Push your chin forward and down. Stay there. I'm getting a bit of wind picking up now, so I'm just gonna drop my exposure back down. I'm at, okay, let's see, my shutter speed is at 400. I'm at 2.8 at 160, because it's quite bright, even though we're in shade. Now I'm gonna drop it down even more and go to 1.8 for my F-stop, so that you can see this dropaway. Tiny little smile through your mouth. Good girl. That's perfect. Okay, give me a fan, Christine. Big sweep. Big, slow sweep down. That's it. And I can just see it light up the face and push the hair out at the same time. Gorgeous. So nice, interesting backdrop. Something I don't usually get. Something I don't ever have in the background. So what I've done today is I found some twigs, and I'm gonna put Amanda into a black dress, I'm gonna leave her in front of the twigs, and I'm gonna photograph her through twigs to see if I can get a really gorgeous look. So I'm gonna go and get her changed, and because we're on location, she's getting changed in the back of the car. We're gonna film it live. (laughing) I was joking. Okay, we'll go get her changed. We'll be back in one second. Let's go. So we're shooting back on this amazing background with beautiful twigs on the walls. So I went and got some twigs, and I'm gonna shoot through them. So I'm going to show you how I focus through them. So what I'm gonna do is just get Susan to come and stand right with me and hold them, and we're gonna kind of fan them out like this, and the reason we're fanning them out is because I need to be able to shoot here and find the focus between her. So first of all, I'm gonna try about the same distance as the background. I'm also gonna use that as a reflector there. So Susan's gotta do two things. You gotta hold the light. She's gotta hold the light for me, she's gotta hold the twigs. Okay, Amanda, just gotta push your chin forward and then flatten her hands out. Your hair is flowing beautifully right now, and she's trying not to look freezing cold. I'm gonna shoot through the gap, and what I'm gonna do is I'm gonna find my focus on her eye, and as soon as I find my focus on her eye, the twigs in the front go out of focus. Push your chin forward and down. Good girl, stay there. Okay, now that is beautiful, and I want it even closer. So Susan's gonna come closer, I'm gonna come closer. And I'm gonna get right up to this twig here. I'm gonna find her eyes through them. So I'm gonna do two things. One is I'm gonna cross her mouth. There it is, beautiful. Tiny little smile in your eyes, Amanda. That's a girl. Okay, now I'm gonna hold the twigs, Sus, and I want you to fan her hair, because I want to get some double action going through here and I want to try and get this focused, and that's it. So Susan's gonna fan up, okay, and just not so high. Push your chin towards me, Amanda. That's the one, stay there. There it is. And ah, look at this. Okay, I need more fan action, and I need a more relaxed mouth on you. And I just want to pull the hair out. So often when I'm outside, I don't have a fan. I can make the hair looks like it's blowing. It'd be really good if we had more hairspray. Is there hairspray accessible? Don't worry, we can go and grab it. It's in the kit. Okay, we'll go get some more hairspray. I make it look like it's blowing, and while Susan's there, I'm just gonna take a couple more shots. So I'm gonna try closer. And I'm just gonna be shooting through here. Okay, push your chin towards me. Good girl. And now tiny little smile in your eyes. That's it, it's all in your eyes. Good girl. And there it is. So I'm getting, that's really dark and gorgeous, and I love it, so let's turn the twigs up a little, and see if I can frame her. So as you can see, I'm gonna pull the focus on the twigs so that you can see where they're at. And there it is. And then I'm gonna push the focus through so that you can see where I'm at. So if I pull the focus onto the twigs, and then push through, there it is. And then you can see the difference there. And it's creating this sort of dark, moody... Yeah, this side, because this is the wind side, and blow in the front here. It will look like that out there. That's it. Then we just massage it in nice and big. There you go. Perfect, that'll do us. Now, I love it when it blows across the face like that. And this is a gorgeous look here. We're going through twigs. We've got a reflector. Hands flat. Good girl, look nice and tall. And just a hint of pushing your chin towards me. See how her hair's just flipped in here. I love that. I'm shooting through, so I'll just put that there. Relax your mouth, good girl. Okay, a little wee smile in your eyes. That's it. Just bring those eyes up to me a little bit more, Amanda. That's it. Good girl, that's nice. Stay there. And here. That was beautiful. Okay, one more, one more. Okay, now, from here, really important that we get some movement here. Let's relax that mouth. Okay, so hands back to here. That's it, pushing your chin towards me. So see how close I am to the twigs to her face. Okay, there. Okay, relax that mouth. Good girl. Perfect. Try just sitting over. Let's have a look at this. I'm just gonna go over her face. That's it, stay there, darling. Relax your mouth. No, relax it open. That's it. That's it, let it go, let it go. You keep shutting it. Big again. Okay, give me a big fan. Step back, Sus, give me a big fan. Go. That's it, perfect. I'm just putting the twigs over here. Ah, look at this movement. Do that again. I'm gonna do lots, I'm gonna do a quick fire here, which means, okay, with the quick fire, I only have a quick fire for two reasons. One is if I've gotta, ah, look at that. Okay, from here, I only have a quick fire for two reasons. One if I've got a family and I need to swap heads, or two if the hair's blowing and I know that the hair's gonna be naughty. So I'm going to do it. So from here I want you to turn your body this way. And I want you to hold your elbows. That's a girl. Drop your shoulders, drop your elbows. Now I need you to lean forward. Oh, kick that all forward. Don't move, don't move. That's perfect. Okay, so from here, I'm going to bring this around. Make sure I've got not lots of here, open up the face, make sure I've got a nice open face here. Now, don't move your body. I just want you to take your hands to here. Touch your hips with your hands. Touch your hips flat, that's a girl. Now just bring your chin around to me. Okay, this pose doesn't make sense from the front, but from here it does. So you have a look here. From here, Sus, I want you to give me a nice big fan. That's working her shoulder. Okay, come around to me a little wee bit more, Sus. That's her. Bring your chin around. Okay, now let me just take this away. And there. Okay, and we'll bring twigs back up. Okay, bring your chin all the way around to me now, and down, chin down, chin down, chin down. Good girl, give me a big fan there, Sus. Ah, look at that. Okay, chin around a little wee bit more. Chin down, chin down. That's it. Lots of fan in there, Sus. That's it, knock it out, nice big sweep down. It's your down movement, so almost hesitate down. That's it. Ah, that was perfect. Okay, drop that bottom lip, Amanda. Let that mouth open to me, just a little bit more. Ah, there it is, we got it. My goodness, look at this. Oh my gosh. (laughing) Isn't that cool? And your hair is just perfect. Wow. So you can barely see the twigs that are sitting over there. You can just see them as movement, and it's just so perfect, and I think it's just working really, really well. Okay, one thing I might try that I maybe, let's just try against here. So from here, just like I used the wall, Amanda, I just want you to lean with one shoulder. That's it, take your weight away. It's all about taking the weight away from here like we normally do. That's it. And now open your body up to me. I want to shoot back on this wall. I want your chin to come forward. I feel like your lower body is towards me, so just move your shoulder forward. That's it, perfect. Now, chin comes forward. Only your chin. And then down here, right. So here we go. There. You may have to come around this side, Sean. Then if you feel like you're getting too blocked from that camera, you can get this angle, because she puts that reflector up. I'm gonna be here, I'm gonna get you to pull that away right away. There it is. And I'm gonna take another shot when it comes back up. Go. See that? Can you just see how bouncing light up that easy can make such a difference, and just such a difference to the face? And what it is does is it saves you on the retouching. We're shooting on the 45. Amanda, turn your body away from me. Yep, just your body. Feet as well. Always move the feet. Okay, now push the chin towards me. Everyone does the same thing. Now push your chin down. That's it. I am still shooting at 1.8. I'm at 800 at 160 ISO. I just need lips together and a tiny little smile in the eyes. More, more, more, more on the mouth. Good girl, there it is. And that's beautiful. Wow, let's bring twigs back up and frame her with them. Right up and over the top. Sorry about the traffic, but that's what you get when you're shooting on location. I'm gonna shoot through the twigs. I'm gonna pull the focus on the twigs first, so you can see where they are. Then I'm gonna pull the focus through the twigs at 1.8, so that you can see exactly where I am and I love that. Let's open it up a little wee bit more, use it as a frame, but there it is. I'm gonna pull the focus on the twigs. There it is. Now I'm gonna push through. There it is. Drop that bottom lip, Amanda. Drop it straight down now. Chin up to me now. Relax your mouth entirely. That's it, give me that beautiful little twinkle in your eye. You got it, girlfriend. All right, I love this. Let me just take a few more here, just to show you this background. Just bring that little reflector up and bounce it up into me. That's it, good girl, there it is. Okay, from here, chin forward and down. Stop, wowza. You are a beautiful redhead. Look. (laughing) All right, from there, there. All right, push that chin towards me. Work them out around the body, just tip that down, Sus. Just a touch. Chin out. Relax your mouth. Good girl. Chin up a little bit more. Relax your mouth. Okay, there we go. Now, what happens if we don't have such a funky wall, you say? I'm sure you can find funky walls anywhere. But let's try and mix it up a little bit. Let's turn the camera around and go back to here. As you can see, we're in bright daylight. We took three steps over, away from the shadow. There's no way I can shoot in this light. The only way I could possibly shoot in the light is if I put a cover over her. It's not gonna work. So get her in to the shade. Unfortunately, it's the only thing we can do. But let's do a 360 around the alleyway and show you what I can see here, because just in, and if Sean follows me just really quickly, I can take her from the ivy wall to the bring wall here, so come here, Amanda. Exactly the same thing. If this works with her outfit, then obviously this is gonna work. And I can turn her this way. Okay, and just body away, that's a girl. Turn your hip away from me. Bring this hand up to here. That's it, just a bit lower. And from there, drop the shoulder down an forward. That's the one. Long chin towards me, and around. If we can't improve this shot with a reflector, we don't bother. Now straighten up. Okay, and bring your chin forward and down now. I can shoot this here. Follow me with your chin. On the 45, keep going, keep going, stop, now. I can shoot this here. Okay, and if I think that that wall's too busy, what do you think? Chin forward and down a little wee bit more, or I can find this wall here. I'm actually really loving this. I would love it, Sus, if you came to this side of Sean and then give me a fan through here, because she's actually throwing, this red hair is just so perfect on this brick, and so I'm gonna get Sus to put some air in here. Okay, chin around to me just, good girl, stay there. We're not moving any hair, are we? Here, drop that down there. Might be easier for you to... Getting caught up. Okay, let's see if we can get some air. (laughing) We're not getting any air. Okay, that didn't work. It's not working. All right, stay there, stay there. Let me just take one tight magazine shot there, and if I can't get some air into here, (loud blowing) Can you blow it? No, I'm joking. (laughing) Okay, from the end. Lips together, relax your mouth. Okay, I just need the shoulder back. So roll away. That's it, push your chin forward. Good girl. Chin forward towards me. Stay there. Okay, lift your chin up just a touch. Relax your mouth. Just drop that reflector down just a little bit, Sus. You're in my light, that's it. Okay, chin down to me. Good girl. That's a bit more. Chin down a bit more. Stop, good girl. There you go. That's beautiful. I like that. I shot that at 1.8. I like it. Let's move on. Okay, from here, Sean's gonna follow us again, and we're gonna go to this wall, because this alleyway also has an open concrete slab, and I think this is gonna work. And then I'm gonna try and pick up this light flare. So let me see if I can just pick up this light flare now. Come towards me. Sean, if you come around and just see if you can get the flare, this is amazing light source. Susan, do you just want to restart that, and show us a pullback somewhere really good so we can cut to that? I want you to see one thing. The light is really high at the moment, but look at her hair. And it's picking up the light so beautifully. From here, let's just go hands onto your hips. Put your feet apart and just rock onto one hip. Whichever one you feel the most comfortable on. And then I want that hand a little higher. That's it. Now, drop your shoulders down. Good girl. And leave this elbow out. And then take this one back. That's the one. And now push your chin towards me. Because when you pose, everybody instantly tucks their chin in, and now chin down a little wee bit like that. That's it, stay there. See her come into play? Her face comes in beautifully. I'm gonna see if I can pick up that sun flare right at the top. If I can't, I'm gonna go to a more open location where I can shoot it straight back into the sun. I want you to relax your mouth straight down. Good girl, there it is. And of course if I want flare, I better take my, okay... Right there. Okay. Push forward, push forward. There it is. Okay, hands down. Straight down by your sides. Okay, chin down to me now. There it is. Don't move. Okay, head goes this way. Stop, good girl. Okay, I'm not quite getting into that flare. It's not enough to give me a big bounce through the face, but I'm gonna take what I get around the eyes. Lips together. Tiny smile. Okay, see if you can give me a fan on this side, Sus. See if you can stand here and just hit her from side on. And just see what we get. Okay, it's bouncing quite a lot of light. That's it. We're getting a little bit of movement now. I like the hair on the face, so don't move it. Okay, here we go. So your hair wanted to behave over there, but it's certainly not behaving here. Oh, that was good. Okay, from there. Hang on, we're gonna lose that fringe. Okay, push that chin forward. Push that chin forward and down. Stop. Chin down a bit more. That was good. Stay there, stay there. One more, one more. I'm just trying to get it out of the flare. I got it. Okay, from here, straight back to the concrete. So straight back to the concrete, using the wall again. You know, I'm always gonna use the wall in two ways. She's either gonna be a cover girl, push back drop your shoulders, push your chin towards me. That's it, hands go higher, and I'm always gonna use it two ways. I'm gonna come right in just like I do in the studio. Okay, chin towards me. And down. Stop. Okay, and I'm gonna shoot that nice and close here. Of course, one of the most important things is making sure that she's always got gorgeous hair. I'm gonna put this back on, so I don't lose it. All right. There. Open it up through the cheeks. We always open the hair up through the cheeks to define the face. Okay, you need to drop your shoulders and move your hips. Don't let people be on an odd angle. So that's it, stay there, and put this hand behind. That it's, kick your hip out more. And I want you now to push your chin forward, because as soon as she started moving her hips, down now, that's it, down more, stop. All right. As soon as she started moving her hips, her chin tucked in. I'm gonna lift this up like it's flying. That's exactly where I want it to be. And I want you to push your chin towards me, Amanda, and down, down, down, down, stop. Okay, relax that mouth. I want your mouth to relax open. That's it, stay there. Good girl. That look was absolutely beautiful. Look. Don't move, because I want to keep going. Okay, so towards me, I want you to be here. And then tip, stop. Okay, lips together. We don't really need a reflector here. I've got a nice, open face. That's coming up a little bit off what Susan's put down there, but not enough to give me great reflection. It's just perfect. We've found a little afternoon niche. Now, the time is, in the afternoon, close to 1:30. All right, so here we are here. Chin down a little wee bit, Amanda. Stop. And now I'm going to turn this way just like I do in the... Ah, I love this. Chin down now. Okay, I want you to relax your mouth. Good girl. Stay there. That's it, right there. And as soon as that wind starts picking up her hair, even better, and then lips together. And tiny little smile. Okay, loosen up those shoulders so I can just see some movement there. That's it. Chin down a little bit more. Good girl, that's the one. The way she's looking at me now, I just need you to push your chin forward and down. Stop. There it is. Okay, straight out of camera, I knew it as soon as I see it like that. Let's go here. I'm just gonna open this up and do that again. Chin down, a little smirk. Good girl. Oh, sorry, my bad, blink. Now, and I can use the wall this way. So stay away from the wall, bum away from the wall, and just lean back with your shoulders. Turn your body away from me so that you're 45. Push, push, push. Push, push, stop. Okay, from here I want you to bring your chin towards me and down. The only way I can shoot on the wall without an L shaped wall, bring your chin around this way, chin forward and down, is if I come into here and shoot closer to the 90 than the 45. I'm coming around. Obviously, that hold right there is gonna be annoying, but I'm gonna Photoshop that out, because it's going to be too close to her head. And I want this hand to slide up, elbow around, defines the waist, drop your shoulder, bring your chin this way, stop. And then down towards me. Have a look now. Her hair is just picking up in this wind and it's perfect. Drop your bottom lip. Good girl. Perfect. Lips together. Tiny wee smile, there it is. Gorgeous. And I love this. Chin around to me a little bit more, pushing your chin forward. That's right, good girl. Stay there. Nice and close. And there she is, beautiful. Okay, let's move on. All right, so what I want to do now is I'm gonna keep her in the black dress because it's not a real shoot, it's just a real posing example of what we can find. Let's go and have a look. I don't know what else is here. We just stopped when we saw this wall. Let's go and have a look at what else we can find. So what we're gonna do here is have a look at this. I'm in that light, she's in half light. This is not gonna work. However, look at this. This is a little alcove. We're right next to a dumpster. Okay, so I got out of the dumpster a nice clean piece of cardboard so Amanda can sit up here. Now remember, I'm not about getting graffiti and old walls and things like that. I'm a beauty photographer, glamor photographer. I like to be up close. So what I'm looking for is something interesting, but what I'm really looking for is that light there, because I need it to take her out of that half light. I need it to take her out of this strong light, which I cannot photograph here and find something interesting. And the first thing I'm gonna get her to do is scooch this way and then lean onto her shoulder there. And you can just bring this elbow up and then shape your body with it. So touch your hips, that's it. No, down here. And then, that's it, and then bring your chin towards me. As soon as I engage her chin, I know I'm there. And now I just have to make sure her body line looks really great. Bend this arm. That's it, and just touch the ground. So her arms look gorgeous, this looks beautiful. Pull this down. And now I just need to straighten your head up a tiny bit. And bring her chin down this way and slightly this way. I don't know that I'm so much into the graffiti, but let's have a look how it looks and see if we can make it look good. And if we can't, we'll move on. I kind of like this. Chin up a little wee bit. Tiny little smile. I think this is beautiful. Okay, let me just push up my exposure. I'm just a little bit under, and I'm gonna go to 1.8, because I like shooting at that. Right here, there it is. And okay, straightaway I'm getting a beautiful light to her face now. So here a tiny little smile in your eyes. Good girl, there it is. And I can shoot it this way. Coming straightaway here, and I'm gonna pick up a little bit more graffiti on either side. Push your chin towards me and down. That's a girl, stay there. And down a bit more. So I'm quite close as you can see. I'm picking up that cross section. I think this is gorgeous. I think it works for her. I think it would definitely suit a high school senior and suit someone young. If she was in a really glam dress, it would probably look even better. From here, I'm not too interested in this, because this is a bit busy for me. So let's go out and find what else we can find. Okay, have a look at this doorway over here. Let's go and stand in there. Again, I don't know so much about the orange brick, but once you see what I can do inside a doorway of light, you'll start looking for other doorways of light. So we found this doorway. Let's have a look at it. She's halfway in the light now. Let's have a good. And if I take a shot to her face, this is not gonna work even at 1.8. So if I get it at, slowly start stepping backwards, stop. Then she's out of the light there. Pushing your chin forward and down. No reflector needed. She's got a perfect light. Just tip this way for me and bring your chin down now. Stop, don't move. Even if I come up to here now and shoot back this way, then I, tiny little smile in your eyes, she's got no direct sunlight, just a little bit more smile. Now I'm dealing with the doorway on the right, so let's step over here this way. Okay, now two things. Now I'm photographing brick and brick instead of white doorways. And all I have to do is get her in a position and she can lean against the wall. So I can either come up nice and close here. Okay, don't lean just yet. Stand up. And just go back three inches that way. Okay, now just drop your chin down. And here it is for me. Right there. Now, I don't know whether you like the orange brick so much. It suits Amanda's red hair. Chin down. I don't know that orange is really our choice of color for a background, but what we can do is shoot it and just so that you can find doorways and alcoves away from light. Okay, from here, now just lean with your arm there. Good girl. This hand goes around. All right, so now I've just got her leaning on that wall. And I'm just gonna push your chin down half an inch. Stop, good girl. Don't move. And there it is there. And I can shoot this way too. So I'm still at, let's have a look. I'll give you my settings. I'm still at 1.8. 1250 is my shutter speed. I'm at 160 ISO. We've got lots of light coming into here. Bring your chin down just a little bit, and I just need a little bit more in the eyes. Good girl. That's beautiful. Wow, look at that. I mean, that is just so gorgeous, it doesn't matter to me that it's on brick. I'm gonna have to burn in this highlight. Bring your chin forward and down to me a little wee bit more, Amanda. Stop right there. That's where it's at for me. As long as I'm finding gorgeous light like that, I can always take a beautiful shot. That would work with a couple, that would work with a mother and daughter, that would work in a beautiful gown, that would work in a slinky black gown. All of that works for me, just finding alcoves. Oh, look at this blue-gray wall. Okay, how about we do a change of outfit, we go to her red dress, dark gray wall. Oh, let's go over there, and there's no light. Okay, we're getting changed in the car again. This is all for me about getting all of my angles. And I'm gonna talk about a 180. As you know, I'm all about the 180. And that means 180 degrees around Amanda. Means I start here, I come in, and I shoot all the way around to here. And I've got to find 180 degrees on a wall, and I'm gonna stop halfway. So I'm gonna start halfway, and I'm just gonna start here. (traffic rumbling) First shot I always take, chin forward and down, nice, noisy location for you today, everyone. Sorry about that. We asked everybody to be quiet, but they said no. Okay, chin towards me and down. There it is. Just taking the elbows in instead of out. So we take the elbows in by taking the hands out, and elbow come in this way. That's it. As soon as her elbows come in, she's now got an hourglass, which works better for her body, and I'm gonna shoot with that. So I just want you to bring your chin towards me there. Stop. And towards me and down a little wee bit more. I love this. Okay, this is a beautiful shot. Careful we don't tuck the elbows too far, so drop your shoulders down, and bring your chin towards me a little bit more and I'm gonna go lower. Because I feel like I slimmed her down too much. All right, so I'm gonna just flip the hair back here, make sure that wind is not working against me. Bring your chin towards me. And forward and down. That's a girl, do that again. That tiny little smile is beautiful. Let's put some space above her, because we don't just want to crop everything straight up and down. That's absolutely gorgeous. Wow. Stay there, Amanda, I just need you to bend this elbow in more. I like one elbow going in further than the other. This works for me. Push your chin towards me. Tip your head that way. Give me a tiny little smile, and you're right there. I love that. Good girl, stay here. Push your chin towards me again. Okay, now the rule of thumb is either she moves or I move. So lean back against the wall. That's it, and now roll to one side. That's it. Now bring your chin towards me, and now cross this shoulder over. Okay, and bring your chin forward and down. So she moves. (plane humming) Plane. (laughing) Okay, push your chin forward. This outside glamor shoot's proving to be a bit difficult with sound. Okay, tip your head this way, and then chin goes down. Down, down, down, forward and down. Towards me. And down. I'm gonna come above her to make it easy to get over her shoulder, and I'm gonna shoot the top of her head frame down. I'm cropping in camera, and there I am there. So she moves or I move. That's the rule. I'm back here again, with that shoulder across. I'm gonna give her a little bit more space. Shoulder, shoulder, shoulder, good girl. More, more, chin towards me. Okay, drop that bottom lip, Amanda. Okay, from there, a little wee smirk. Beautiful. Beautiful, big smile, go. Wow, that was perfect. Look at you. (Amanda laughing) Okay, from here, now, she moves or I move. So come flat again. This time I'm gonna move around her. So stay with your back against the wall. Bring your hips away from the wall so you've got a little bit of a recline. More. And take your weight on your opposite foot so your bum goes away from me. Now you bring your chin forward and down this way. We're working into the wind now, which is kind of cool. This is picking up her hair this way, and chin is forward and down. Down, down, down. I like that there, so let's have a look. I've got beautiful color. Oh, I like that the ear's just picking this up. But I just want to clear that eye. I don't want the hair in front of both eyes. There it is. Just this little bit at the back. Be diligent with hair, because you're only going to be removing it in Photoshop later. Okay, chin around to me a touch more, and bring your chin down. That's a girl, there it is. Nice and close. Come right up into here. Chin up to me. Drop your smile, that's a girl. Stay there. Okay, one, two, three. Nice and close Wow, look at that. The blue straight out of the camera is just absolutely perfect. I went horizontal, I went vertical, I followed it around and now it's absolutely perfect. (traffic rumbling) Loud noise, loud noise. Okay, let's have a look. The ear is really, go back again, where you're at there. The ear's really picking up her hair. All I have to do is get you to push your chin towards me. I like this a lot. I'm gonna go back to horizontal. It's all happening naturally. Absolutely. Chin up, darling. Relax your mouth. And then chin down to this shoulder. Push it to the edge, that's a girl. Eyes to me. Beautiful big smile. Wow. Good girl, that's gorgeous. Stay there, stay there. Chin down a little bit more. And now easy smile, just not huge huge. That's it. Nicely, that's it. Gotcha. Oh, I got a blink. I got a blink. Still there, still there. Gotcha. There it is. Perfect. Okay, now one more thing. She moves or I move. Lean against the wall. I might go out of frame here, but you'll be able to see through Sean's. If I move, what am I getting? Does my light change? Does her hair change? Does my angle change? Follow me with your chin, Amanda. That's it. And I love this. The light's changed considerably, but her weight is on her back foot. Now I've gotta engage it, no. I've gotta engage the shoulder down there. Tip there, because I want to give her a beautiful shape. And then from here bring your chin around. And then you are there. I like this way. I'm just gonna pull the hair out. I've got light hitting the back of her head there. Chin down. Stop. And that is absolutely beautiful. Totally different look. Have a look where the light's transferred from the front to the back. Have a look where it's changed over. We're not shooting into the back light, but we're shooting into an entirely different contrast. Let's go. And we've got a little bit more space because we've got a longer wall here. Okay, so bring your chin back to me, and work your shoulder forward. All right. Big mistake that a lot of people make is what just happened then. In fact, let me show you. Okay, drop that bottom lip. Relax your mouth, good girl. That was beautiful. Lips together, tiny smirk. Okay, so what happens here is I brought her chin to her shoulder and then I came around to this angle and I'm photographing this backdrop all the way back there which doesn't work right. So come back to the 45 here, but her chin is still away from me. So what I have to do is get her to follow me with her chin and then down. Chin forward and down. But now her shoulder's not following her chin, so then I have to bring her chin to her, sorry, her shoulder to her chin. So make sure her face follows you. And turn around this way a little bit more. Make sure her face follows you. And then make sure her shoulder connects to her chin so that I can get that dropaway, and then I'm getting that background at 45 degrees, so that's where I am to the camera. So that works. Let's go and find another location. This time I'm gonna look at the water. I want to go straight towards the sun. I'm gonna put her in a green dress. I want to find a shadow wall. I want to try and find some greenery, and I want to find a sun flare, and we're gonna get it, because the closer you to shoot to 3:00 p.m, the better you're gonna get it. Let's go. Okay, everybody takes this shot, right? Girl sits on the stairs, sun in eye. (laughing) Doesn't look good. Doesn't look good for anybody, mum. So let's move it around. What I'm gonna do is take a shot of Amanda like this, sitting on the stairs. I haven't asked her to do anything but sit on the stairs. There she goes. Now, this is not working for me. What I want to do is square her up. I'm gonna come around the back of this camera here. I'm gonna get her to recline two steps up. Good girl. And from there I just want you to touch your hip line, and just slide down a little wee bit. Thumb in, Amanda. That's a girl. Okay, tuck that elbow back down a little bit. I know it's hard, not your shoulder though. Lift up nice and tall with your head and shoulders. Shoulders go back to the wall. And just bring your chin towards me. Okay. Chin down a touch. Just the tip of her hair is in light. I'm gonna come up to here. I'm gonna shoot it this way. Okay, what I don't want to see is the top of the stairwell. What I don't want to see is any light coming in here. So push back to the wall a little wee bit more. Good girl, there it is. Chin down just a touch. I'm on the 35, so I can get nice and close. Okay, there it is, that's nice. And if she's reclined too much, I want to come down. Push back to the wall, Amanda, a little wee bit more. And I'm in nice and close to here, which is lovely. So just making the best of an awkward situation, an awkward light. I don't have a lot of room to move here. This was my option. And come forward, Amanda, so sit up. And come towards me. See there, she was in the light, and that's not working for anybody. From here, come to here, and just touch down. The reason I'm just getting her to touch down here is to bring that arm away, to create triangles. Push back with your shoulders. That's a girl, bring your chin towards me and down. Stop. Push back in further. There it is. And I want to come into here now. Nice and close. Use that wall, use that top light. Perfect. Really close. Up close and personal. Good girl. That's beautiful right there. And we can come into here. Chin up to me. Push your head back to the wall. That's it, stay there. And I'm into here. Chin down just a tickle. You got it. Nice and close up there. That's our shot. Beautiful, big smile, go. Perfect. Let's go and look for sun flare. Gotta get these curls, I gotta pull it out here like this. Stretch it out. Gonna put my hairspray down. Always take a hairspray on location. Hairspray, everybody needs hairspray. All right, there's my flare, okay? It's sitting quite high. In order to shoot that without clearing the building behind her, I'll show you a couple of things. In order to do here, first of all I'm not shooting the flare. I'm shooting something close to it that's not flare. I've got a building in the background so I'm gonna come down. Chin this way. And in order for me to shoot low, I need her to come towards me and down. That's it, chin down just a touch. Okay, now I'm dropping into the flare here. I'm getting closer. Tip your head this way to me. Stop. Now I'm gonna look for the flare, all right? So I'm gonna move around. There it is. Drop that bottom lip, Amanda. That's it, stay there. Okay, I'm gonna push my exposure now. So I'm at 1.8. I'm right on that eye, so I'm gonna move it to her right eye. I'm gonna push down. I'm gonna find that flare, there it is, sitting right on her head now. Okay, and I'm gonna shoot it there. So I'm just bringing that light in. Okay, let's try and get softer curls so it's not picking up so much light through here, it's more filtering around her face. Nice and full if we can. Okay. There it is, right. I'll open this up now. So nice and tall up into that light, Amanda. Come right up onto your tippie toes. Just get as high as you can and then bring your chin forward. That's it. So I'm getting her to come right up into my light. We only have daylight, we only have natural light. We'll take whatever we can get. So if I have to get her up into the light, that's okay. Just tip your head this way. And then just give me a chin down this way. That's it. See this flare coming through? Chin back this way. That's a girl, stop. Okay, I'm gonna go into live view and film the flare so that I can show you. So here we are, pointing towards the water. I'm recording. I'm gonna come down, down, down. Okay, she has to bring her chin towards me and follow me down. Otherwise I'm not quite there. Then I'm just gonna pick up the flare there. Okay, I need to focus. And then I'm just gonna pick up the flare. You watch this. I'm coming into the flare now. This is where I want to shoot. Okay, so I'm gonna go off live view, and I'm gonna go for it. All right, from here, just lift your chin up, sorry. That's a girl. And just relax your mouth. Give me a tip that way, Amanda. No, other way, sorry. There we go. Chin down just a tickle. All right, now I'm going into the light now. I gotta pull back to get that light. All right, stay there. Okay, I'm currently shooting at 1.8. Okay, chin down just a touch. Okay, little wee smile. Good girl, that's beautiful. All right, let's see if we can find some more. She's standing up into the light, and I want that sun to come down just a little wee bit more. Okay, here we are, bright light. Amanda's kneeling in the garden. I told her to feel like a wood nymph. I'm just trying to get the pink flowers. So I'm gonna get Susan to put a reflector up and over to block as much light to her as possible. I'm gonna take a still, take that light away for me, Sus. I'm gonna take a still. There it is, hard light. Put it back again. And this is all we can get right now. So this is the situation we're in and this is what we want to capture. Straighten your head up to me, and bring your chin towards me and down. So Amanda's kneeling in flowers. I'm exposing for her face here. Push that reflector down a little wee bit, Sus. That's it. Chin down now. Good girl, stay there. I'm pushing my exposure up. I'm at 16 hundredth of a second. I'm shooting at 1.8, because I want that dropaway around the flowers nice and soft. I'm nice and close. Okay, relax that mouth. Good girl, that's beautiful. The wind is picking up her hair. A little wee smile. Perfect. That's gorgeous. Wow, that's really amazing. Okay, so we're doing the best with what we've got in this situation. I don't mean Amanda. (laughing) We're doing the best with our flowers, and I'm really loving this. How about your put a hand onto your hip and elbow goes back. As you can see, she's just kneeling down on the grass. Just up and over with that reflector, chin this way. Okay. I want you to straighten your body up. And sorry, just check my microphone. I want you to bring your chin towards me, and let your elbow go around there. That's the one. Push your chin towards me now. Good girl, stay there. Okay, just come up and over with that reflector, Sus. A little higher, thank you. That's beautiful. Oh, I love this. And there it is, 1.8. Let's pick up some of that pink. Bring the reflector over a little bit more. No, this way, sorry. That's it, that's it. Okay, and let that bottom lip go. Just like that. We're in an Estee Lauder ad. (laughing) Okay, relax. Relax. We got people walking past, but I'm at 1.8 so don't really care. And oh, sorry, that was a blink. Just waiting for that wind. Beautiful, Amanda. Don't move from there. You're doing such a good job. And I'm just gonna pull back and take a scene for you. We're this close to the city. We are this close to the city. We are this close to the city, and this is what we're doing right here. Okay, one more, let me get in there. Stay there. I just want you to turn this way. This way? Yeah, so bring this knee towards me, so you stay to your knees. That's it, turn this way. Put this hand behind you. Drop it down. That's a girl, and bring your chin all the way around to this shoulder. That's the one. I like how this hair's falling. So let's go into hair, let's bring a little bit forward. Straighten your head up to me. That's a girl. Chin this way. And chin down now. That's it. Just gonna get that focal point over her right eye. Work that shoulder forward. I want to go nice and low, tip that way. Good girl, stop. Okay, relax your mouth there, Amanda. That's it, that's it, good girl. Beautiful. I'm gonna shoot this at 60 frames a second in slow motion. I'm just gonna do this here. I want you to hold your gaze in the camera. And then I want you to look down. And then I want you to look up. Tiny little smile. Good girl. And now look down. Big huge laugh smile. Go. (Amanda laughing) Perfect. One more time. Look down. And then just very slowly look up to me. Big smile. Beautiful. Now look down. Stay there. Eyes up to me. Eyes up, chin up. Relax your eyebrow, relax your mouth. Relax that mouth down. Beautiful big smile, go. Gotcha. Thank you. Okay, what we're doing here is looking for flare. We've got light behind Amanda. She's got beautiful red hair. We have found some plants to sit in. Just stay there, follow your chin down this way, stop. This arm slides up and down a bit further. Elbow goes back. That's a girl. Come around. I'm just getting Susan to block the top of the flare, just so I can direct it straight down to her hair. And let's see what we're getting here. I'm gonna shoot through the plants, because I just love this right now. I'm just gonna come into here. I'm at 1.8. I'm at, sorry, that was a blink. I'm loving that. Like pull away from there a little wee bit more. Good girl. I'm coming up. I'm gonna come down. Susan, lift up that reflector. Okay, there's people walking past. I'm just gonna let them walk past. And tiny little smile, good girl, that's it. Okay, pull away from here just a little wee bit more. Stay there, don't move. Okay, now look at this light here. Susan, try and drop down towards her. That's it, that's the one. Just bouncing it back to her face. I'm just set it right on top of my camera. Good girl, stay there. Nicely done. So I've got a nice amount of light coming through here. Relax your mouth, honey. Really, that's it. Lots of little smile in the eye. That's it, little bit more. You got it. Stay there. And I'm just gonna come under this plant nice and low. Love that. Okay, from here, I'm gonna just try and tip up this way. Oh, this is beautiful. Let's go into the light here. Let's see if I can just shoot through. If there's too much twigs here, I'm gonna pull back. Straighten your head up to me, Amanda. That it's, and relax your mouth there. Good girl. Little wee smile, lips together. Okay, I've just gotta clear those twigs. If there's too much in front, I'm gonna pull back. There it is. Okay, oh, I like this a lot. Okay, stay there. And I'm just gonna pick up the flare. I've taken my lens hood off. Not that I had it turned around the right way anyway. Okay, I've just got people walking in my background, so I'll wait a second. Let's come under here. Chin towards me. She can just keep pushing her chin towards me. I'm nice and low. Not so far. That's it, lift up. That's a girl. I'm gonna really pick up the flare now. It's just reaching for focus, because there's more light behind. So let's see, wait there, I'm just wait for this person to get past. Just gotta get comfortable. I'm just gonna come up into my vertical. Chin around to me now. Good girl, stay there. I'm still shooting through quite a lot of twigs, so I might just pull away. That's it, stay there. Okay. You can have that arm in the front, but one of them has to go back. Put your hand, that's it, not so far. Hand goes onto the thigh. Maybe bring this elbow back a little, bend it. That's it, perfect. Last, straighten your head up, and then bring your chin towards me and down. Okay, give me a tip this way. And chin down now. Chin down now, chin down, chin down, chin down, stop. I'm gonna keep coming to the flare. All right, so I'm gonna come down into the flare. Down a bit more. Down. Okay, I've got a nice flare cutting down through the face now, but I like it. Oh, that's great. Let's see if I can get that horizontally. Here we go. Really pushing into that flare now. So we're sitting right at that three o'clock mark. Sun's getting really low. I'm focused on her right eye. I love that little smile. See my camera's reaching a little bit to find that focal point, because there's a lot of flare coming across her face. I'm gonna hit it. And let's try and do it without that reflector, so if you happen to find yourself on location without an assistant, that you can still find this flare. So I'm gonna be here up in her eyes, and it's gonna come down. I'm gonna pick the flare up until it hits her face, and I'm just gonna look for that focal point, and tiny little smile. So that's without Susan holding that reflector up to me. So if we have to, we can do without it. All right, from there, turn your body completely side on to me this way. This way? That's it. Okay, sitting nice and tall. That's it. And let's just bring your chin all the way to the shoulder, and work that shoulder forward. That's the one. I'm gonna shoot down into the twigs. Give me a tip this way. And chin goes back this way. She's directly side on to me now. I'm just gonna pick up as much flare as I can. And to here, I love this position. Bring your chin towards me and down. Good girl, don't move. Wow. Okay, chin down a bit more. Relax your mouth. Can you just give me as much hair around this side as you can? Good girl, that's beautiful. Stay there. Okay, work that shoulder forward. Give me some space between your chin and your shoulder. So long neck. That's it, lift up with the back of your head. That's it. And then tip forward, that's the one. There it is. Okay, so from here, chin down now. Chin down, chin down, chin down. More, down, down. Okay, push your chin towards me. I'm right in the flare now, but I just need to work her shoulder. So I need this hand here to come downhill. I need to create space here, so I'm gonna kick that forward. Now bring your chin around to me now. Okay, so chin around, stop. There it is. Now I have to find the flare. So give me a tip. I'm nice and close, there it is. This is my standard pose in the studio, as you well know. Chin down, drop that bottom lip. That's a girl. Tiny little smile. Okay, I've just got to clear this eye. And let's go, beautiful, big grin here. Okay, perfect. Lips together. There's that flare. Give me some light back over, Sus. See if I can bounce back into her face. That's it, perfect. That's it. Okay, gosh, that's easier on my eyes. Give me a tip this way. Oh, I love that. Good girl. What we're doing here is we've just come back to a thicker bush. Come back down, Sus, that was perfect. Thicker bush, I'm just getting Susan to bounce some light back here. Pushing your chin towards me, nice and close. And let's see what we can get through here. That's it. So I'm gonna pull the focus on the plant so you can see where I'm at. Then I'm gonna pull the focus on her face. And just straighten your head up, stop. Relax your mouth a little, let it go. And just a tiny little smile in there. Let's push your chin forward. That's it. Stay there. Perfect, push your chin down. There. Okay, I don't want too much over her mouth so I'm just gonna push this down. That's it. She's gonna hold it. And I've got to clear her face through here. So pull across here to me. That's it, stay there. Nice and close to the face. Shooting through. Push your chin forward. There you go. Little wee smile. Good girl, beautiful. Thank you. Love that. Let's go and see if that works. Awesome, guys.

Class Materials

bonus material

Business Checklist
Keynote Part 1
Keynote Part 2
Posing Guide: Set Map and Outfit
Posing Guide: Flow Posing
Posing Guide: Couples Posing
Posing Guide: Curves
Posing Guide: Teen Posing
Posing Guide: Family Posing
Posing Guide: Over 50 Demographic
Posing Guide: Beauty Shot
Posing Guide: Posing Men
How It Works
Styling and Wardrobe

Ratings and Reviews

a Creativelive Student

I have purchased four of Sue's courses and love them all. I have learned so much. I found the lesson on connecting with people thru their eyes has made a huge difference in my photos already. Her before and after's made me cry. I want to be able to take these kinds of photos for my family and friends. I just love what she does. She is such a great teacher. I learn much better seeing things done, so this was the perfect choice for me to learn. I love Sue's humor, her honesty, her detailed teaching and sweet and wonderful personality. Her sessions will or should not disappoint anyone. It is the best money I have ever spent on self-help teaching. Thanks a million creative live. You GOTTA LOVE SUE!


Pure gold. Sue Bryce is likable, talented, funny, and an amazing teacher. She calls you on your BS (your excuses for why you aren't succeeding), gives you business, posing, marketing, pricing and LIFE advice. The class is 58 hours long - and you spend the majority of it looking right over her shoulder, through her lens and watch her walk through many, many photoshoots. She verbally and clearly repeats several critical formulas for success so it's imprinted in your mind. Her advice is crystal clear and your photography will dramatically improve after this class. Before Creative Live, you'd NEVER have had the opportunity to shadow a photographer of her quality... hands down the best photography class I've ever taken.


I have just began this course and I am excited to see how following her model will help me to improve and get my business started. I have been through the first two days and there is lots of information to absorb and things to get in order before I begin the actual challenges. I am thankful that there are photographers out there who are will to reveal there secrets ad are truly invested in others improving themselves in all aspects of their life and not just their photography skills. Thanks Sue Bryce for your passion for empowering woman and your knowledge of creating and sustaining a business by being true to who you and commitment to the improvement of others! I am excited to grow myself and my business, I am confident this will be worth every penny! Were the templates for the email PDF included in this course

Student Work