Day 2: Mapping Your Set and Outfits

 

28 Days of Portrait Photography

 

Lesson Info

Day 2: Mapping Your Set and Outfits

This was definitely one of my favorite challenges to shoot. I'm going to show you how I see a shoot in my mind before I shoot it. I'm going to map the clothes that the girls bought with the backgrounds and I'm going to show you some very simple changes in background and how effective they are in an entire shoot. I'm going to show you how, when my clients arrive, I'm going to educate them as to which outfit to wear and take you through the map of a shoot on how I already see in my mind how I'm going to shoot every single outfit and how I can keep the shoot efficient and looking really gorgeous, already done before I start shooting them. Hi everyone! Today our challenge is about mapping our shoot with our backdrops, with our outfits, so that we have shoot flow, so that you can see how my mind works when a client walks into my studio with six beautiful outfits, and I'm going to show you how to do all of this in two simple little corners. So, I can change my backdrop by simply changing thi...

s V-flat here, and as you can see, I have a powder blue V-flat right now that I've painted on poly board. So I buy this polystyrene boards and I paint them with the lowest matte paint that I can find, interior paint that I can find. I pick my favorite colors, so right now I chose around a light powder blue. I love the powder blue for beauty shots. I can change the entire look of my shot by just changing this simple corner, so, right now my light source is coming from here, and I've filtered the window with white fabric. You can use a curtain or any fabric you like, as long as the light sweeps over you here. I always have a reflector, white reflector, which is another poly board, not painted, for this side really to go. This shot looks really beautiful for pretty much all light colored outfits. I wouldn't really shoot black on light blue, and this is what we're going to look like today, so now, I can change the entire look of this shot simply by changing this corner here. (fingers snapping) So just like that, I now have a white corner. The wall is already white, here in the studio, and I've put a little gator foam board, so exactly the same V-flat open gator foam on the back wall just to extend it, and the reason that I've done that is, that I can shoot a little bit wider than the space of the wall, so exactly the same corner, exactly the same lighting scenario, exactly the same reflector, just a different look and I can change it again by simply bringing in one more color. (fingers snapping) And just like that, I have an awesome black corner to shoot on. Now this is a black and white V-flat, it goes black on one side, white on the other. You buy them like that. Most photographic companies sell them. They're cheap, they're easy. I have absolutely loved shooting on this V-flat. I never used to shoot on black. For the last 10 years I would always avoid it. I always had a dark smoky gray, but because I shoot natural light, this black throws a beautiful dark gray. It picks up a nice dark gray sheen, and because I shoot toward the cold tones when I process, I kind of like the bluey tone that it gets, so exactly the same light source, exactly the same corner, a completely different look. Looks fabulous with all the dark gowns. It's very vogue, I love this corner, and I do have a couple more colors that I'm going to show you so, again, just with a click of my fingers and a wiggle of my nose, this is my next look. (fingers snapping) And here I am in my gray-green. Now, the reason I chose a gray green is because I found that the blue greens were too close to the powder and the black, and I like the little green pull, always towards the cold tones for me, and because I really like this sort of tone. Now, it's not important what color you pick. What's important is, the color you like. I choose tones that I like to photograph on, and I want just to have a little bit of variety in how I shoot, so, I always want a lighter gray that I can lighten up, make it look fresh, really clean lines, so the gray green is probably one of my most used colors and it looks good with a darker dress and it probably looks good with a lighter outfit but I tend to go more towards the dark, so the darker outfits look really great on the brown, the gray-green, and the black, and the lighter outfits look better on the powder blues, the whites, and so I do tend to hold those tones just because I think it creates nice clean lines, so, exactly the same set up here again, all I've done is changed that V-flat. Same light source, same reflector, same small space. This can be shot in a bedroom if you have a good light source during the middle of the day. So, I have one more beautiful background that I can show you and with a click of my fingers, I made a beautiful vintage backdrop which we're going to shoot today. And here's my vintage corner. Now I've created a little video of how I made this, for you. Susan Roderick and I made this background and we're going to shoot it today just to see how it shoots. Basically it is just polyboard with vintage wallpaper on it and a beautiful color I chose to paint that. It's actually not vintage wallpaper, it's called Anaglypta wallpaper, so, you buy a white wallpaper that has this beautiful texture on it and the idea is that we're creating this gorgeous vintage look for boudoir or for beautiful pretty shots with gorgeous dresses, so we'll show you, you can watch the video on how to make it, and here we are again with a sixth backdrop corner, so today, I'm going to show you how you can do an entire shoot in exactly the same space, by just changing this corner. Also there is no excuse that you can't make these yourself, create them, by them, these cost around 15 to 30 dollars, and all the countries I've been to, I've managed to source them on Google, so it's really easy to create amazing little backdrops that take incredible shots as long as you have light and now, I am going to show you my other three options for backdrops. Then I'm going to show you all of my prop options. So On my second alcove, I have hung some polyester chiffon just to filter the light that's coming through here, and this is where I will shoot my backlight, so you saw me standing here for my backlight shot, my model will stand right here, and I will shoot it from that angle there, straight back to the white light. Because I am very lucky to have this nice big open space window. I can do full-length backlit shots, well not full-length but my full-length, which is down to sort of mid-thigh, but it really doesn't matter how you shoot your backlight as long as you have a good light source coming through, a good diffuser on that light source, and a good reflector to bounce the light back to the front of the face. So on this program, we have created a challenge for you based solely on shooting the backlight, so that I can show you how I do it, and it is one of my signature shots, and something that sells every single time, in my shoots and my sales. You can also see that I have this beautiful back wall. It's eight by 10 feet, eight by 12 feet sorry, this backdrop, and it rolls out another two or three feet. I'm very lucky to have that wall space and I've got one full wall covering. So I started to shop around just to see if I could find, 'cause this is actually a real photography backdrop, and they can get quite costly, they can get up into the 1500 dollars, depending on what you have. I tend not to photograph on the paper backdrops. I don't like them, I never have. I feel like they look a little bit like paper backdrops. I've never quite mastered the art of photographing them. I do prefer the painted poly boards. So what I did was, I shopped around and I went to a few fabric outlet stores, and I found of course in Los Angeles, they have the fashion district, and I could have gone absolutely crazy there. I found fabric around the $7 to $15 a yard, and I wanted to try and see if I could create another couple of backdrops just from fabric, so, I found these fabulous backdrops and I did not spend more than $140 on all three of them and I got lots of fabric, so let me show you these now. This I now a little backdrop and as you'll see, I purchased about four different colored fabrics. In the end I realized that I was choosing upholstery type fabrics. They're quite thick but they're not that heavy, and this backdrop here is being held up by two drawing pins, or two stick pins, so that's all we've put up there and then I've put another two at the bottom just to stretch it out. I'm looking at cheap, easy, accessible backdrops for you that are going to give you multiple looks. What I need you to understand, A, is that they're all affordable, and they're all accessible, they're all easy to hang, but I need you to understand how simple it is to shoot in a corner with a good window. So today everything we do is going to be on these backdrops, just to show you how easy it is. Now the challenge today is not to go and buy a whole lot of backdrops although I do want to explain to you how easy it was and that you can build your backdrops up, you really only need a light and a dark, so if you get anything, I would start with a black and white V-flat. Then the first color I would bring in would be probably one of the mid to light grays, just so that you have three strong tones to photograph in. As you build your studio and as you start shooting and building your folio, you can build multiple backdrops, but the backdrops I've just shown you are all the backdrops I have, that's it. I don't have any more than that, so you know it's really easy to start building that up. Now, the other fabrics that I found, I chose a gold, and it also goes blue gold on the other side, so I could actually use this two sides, and that is upholstery fabric, and the other one I chose was a multi-color, so there are very few shoots where I would actually use this backdrop, because I feel like it's quite busy, but it is also very feminine, it's very beautiful, I've shot on it, and it's actually the backside, the flip side was a mustard embroidered which I absolutely love. So, I bought that just out of pure indulgence, more so than anything, and lately it's been over my bed. (laughing) So, there you go, nice little corners. Keep it easy. Now I'm going to show you some mix and match props versus colors, and then I'm going to show you how I map an entire shoot. This is not about clothes, this is about tone, so I want to show you how in my mind, I see a map of the shoot. I need to do one thing when I see a client and I get their clothes. The first thing I'm going to do is I'm going to coach them to bring in as many great outfits as they can. The more commitment that they make to bringing in outfits for this shoot, the more invested they are in this shoot, and the better the photographs are because they bring in clothes that look good on them, they bring in clothes that photograph well, and the more effort they make, then the more committed they are to the entire process. That gets my clients really into the shoot right from the beginning. Coaching them on the phone about how they'd like to be photographed and what they would like to wear, that is worth a 10 minute phone conversation to me. That is more precious than any other pre-prepared time that I could give them in terms of consultation and it just means they come really prepared. Today, my client has brought in six incredible dresses and I'm going to show you how in my mind, I've already mapped out the sequence. Secondly, I need to be efficient when I'm shooting. I don't have all day. I have natural light from 10 a.m. 'til 3 p.m. Who wants to work after that? I want to be processing and selling my images after that, I don't want to be shooting all day long. I don't let my clients, including makeup, stay longer than 2 1/2, three hours. People get hungry and they get tired, and I don't want them to be here all day. I want them to have a great intense experience, and then leave, so in my mind I'm going to map the shoot out. Now, not only does it have nothing to do with tone, sorry, nothing to do with clothes, it has everything to do with the tone of the dress, and how I'm going to photograph it, and the style of the dress. I can tell how I'm going to photograph somebody based on the sort of outfits that they bring in. For starters, this is one of Nicola's dresses, and it doesn't get better than that. That is vintage, it's absolutely beautiful, and I see this immediately on the backlight. There is not other way I would shoot this. This dress belongs right here. It belongs here in front of this white light, beautifully backlit, and the watermelon, the tone of it is gorgeous. Now I don't shoot dark colors on the backlight, 'cause it doesn't look good, so I would never shoot a black dress on the backlight. Always go for the lighter tones. So number one, this dress is right here. See this is in my mind, what I'm thinking. Then, I look at my next outfit, and my next outfit is this beautiful sort of green. Now straight away, I would shoot this on a light-toned background. I wouldn't put this on the black. I wouldn't put this even on the, maybe the gray-green, but, I look at this green and I know that as soon as I see it, it's not going to match the yellow green that I've already got on my gray green, but I would actually shoot this on the white alcove, so white wall, so that would be my choice there, because it's a light tone and it will look really really good with lots of light around it. So, I would probably start her out in that one, and take a gorgeous white leaning back dress so that's going to go this side. Secondly, I see this one here and I see the gold straight away. I think gold on gold is going to be too much, although I will try it. Sometimes, I don't know whether or not it's going to look really great on something that busy, and if it looks too busy, I'll pull her out straight away. This gold would also look beautiful on the backlight, so I'm not afraid to shoot twice on the backlight, so this dress here sits here. It's going to be somewhere between these two. Also, I love this dark brown right now, so I could shoot the gold on that, and I think that could work really really well so, I've got three options for the gold, and I do not know until I see the shot. My next outfit that I've got ready to go is this, and oh my goodness, this is just beautiful. I love simplicity, and this is such a great color. It's mauve, it's fitted, I know it's going to photograph well. In my mind, I'm seeing the shot already that I would shoot this dress on. Again, this is a light-toned dress and it would look beautiful on the white more so than the black. I wouldn't really shoot it on the black at all. I also could shoot that on the backlight, but when I hold it up, nope, I wouldn't. It's too heavy and I don't think it would really suit. I think it would look good on the white wall. I could definitely try and shoot this on the vintage pink. So this would be interesting. This is the sort of dress that I think we could make this look really incredible if we have strong accessories with, so in my mind, that's where I'm at. Maybe try the pink. Notice something though, the colors that I choose first, that I would shoot on first will be the white wall, the white backlight, the black is a definite for everything, every shoot, and the mid gray, but the powder blue, the pink vintage, and the gold, they maybe will come in, one of them will come in for a shoot. They'll appear once a week kind of backdrops, they're not regulars, they're just there to have for variety. The other dress my client has this morning is this little black corset and this gorgeous length. Now I see two shots here. By the outfit, I see a long elegant portrait of a lady on the brown background, very sort of fashion, kind of Annie Liebowitz, I just sort of see that in my mind. I also think that the bodice is so cute, and really gorgeous that I could shoot it also on the black. It would look really good like a cover girl or a real Vogue cover girl, so I'm seeing the image in my mind and I'm mapping out my sequence. The sixth outfit, and I never take more than six, four to six is perfect, is this fuchsia. So this is an outrageous color, it's a very strong color to shoot. I would, even though I think it's a magnificent dress, I'm going to be very interested to see if it's my favorite. Sometimes dresses that are this strong in color don't photograph very well. Sometimes they do. I would probably really striking, take this straight to the black. Again, I think the backlight could handle this dress. I think that it's pretty strong. I think maybe the wall, using the white wall into the backlight could handle this dress, but I'm going to leave this one 'til last because I think this is my wild card. It's a wild card because it's a magnificent cut, so I'm going to be really interested to see how it suits my client. So as you can see, I've already chosen the pink, definitely chosen the white, I've definitely chosen the brown, I've definitely chosen the black. The powder blue and the mid gray have not made it into my selection. The gold is questionable, it's there, maybe it would look good if she had some lingerie, but I'm not really not that taken with the gold, so the white, the black, the brown and definitely try the pink vintage and see if it goes. Now, here's the thing. I photograph two women at the same time, so my clients have come in, best friends I'm shooting today. They're both having a shoot together, so they've been here in makeup together and now they're coming into their shoot together and they're going to enjoy the experience together, so what I'm going to do is now look at my other client's outfits so that I can now map both of them together, because every time I photograph one girl, my makeup artist is going to help the other one get dressed, and one I've finished her sequence, I'm then going to photograph her. So now I have to look at what corresponding backdrops I have for both of them, so I can make my shoot fast, efficient, and really awesome. So Sally's outfits, my second client today who's alternating, Nicola and Sally. Sally's also brought six beautiful outfits. Now I'm going to map in my mind the sequence, how I'm going to do the two of them together. Now, I look at Sally's outfits and she's gone towards the lights, and she only has one dark outfit. So my initial reaction would be to shoot every single thing that she has here on the white backlight, because I like nothing more than shooting in white, but I do have to mix it up so this is how I'm going to do it. I'm going to shoot Nicola and her watermelon dress on the white background, and because I want to set up my camera and have them alternating and I don't want to reset up or position, I'm going to put Sally in the same backlight and I'm going to choose this beautiful mauve. Now for me, this is also vintage. The girls went vintage shopping and they both found these gorgeous vintage gowns. You just don't get better than this, as far as I'm concerned, so I'm really excited about shooting them, and I want to keep them. So I'm going to put, straight away, Sally straight here as well, this belongs exactly where Nicola's watermelon dress belongs. It belongs in the backlight. It's just the prettiest frock and it's going to photograph like a dream, and I just love it, so, when we went with Nicola, we went to the white wall and on the white wall I was going to photograph either her sort of aqua green, or I was going to photograph her gold, depending. I would take Sally to the same white wall and I've got this beautiful sort of green top which I know is going to photograph fabulous on white. So it's a nice light tone. I just love the colors, she's blond, I just know it's going to suit that white wall and it's really pretty, I love it, love love love. Now, when Nicola goes to the beautiful black gown and we're going to shoot her on the brown backdrop, the portrait of a lady, I'm then going to take Sally into black as well. So Sally has brought a black outfit, and I straight away saw this. Now a lot of people would see this little piece here as an undergarment and think boudoir, put stockings and high heels with this and do a boudoir shoot. I couldn't think of anything I'd rather not do. So what I'm going to do is I went to my shooting wardrobe and I found a black fashion hat and I love the mixture of putting fashion and boudoir together and creating a hybrid glamor that just belongs, and so I've got a black fashion hat and I'm going to do a sleek line, brown backdrop, sitting on the box with this gorgeous little piece here and a black fashion brimmed hat, and just the same way, I would then take Nicola into the black background, to shoot that glittery bodice. I would then introduce one of my shooting pieces to Nicola's outfit, so with Sally, I'm then going to take Sally into that same backdrop as well and start doing some real cover girl shots. So I'm going to miss those both up so I can keep that flow going on. Now, with this gorgeous little outfit here, I have a look at it, again, I think it would look great on the white. It would also great on the backlight, so Nicola also had the gold dress and I feel like they're both very similar, so, with Nicola's gold and Sally's pink, I could take them both to different backdrops. This would be the one that I would again, wait and see. It's not going to go on the gold. It's not going to go on the brown. Yes it would look great in the backlight. Can I do a second shot on the backlight and make it look different? I think I can, so that will be our little wait-and-see. This is my fifth choice for Sally and she has brought a beautiful nude corset and this here, to me, is just very simple, very pretty, okay. I'm thinking, definitely, again I could shoot this on the backlight 'cause it's so gorgeous, but I actually thought with this one I would introduce the powder blue, so I was going to try Nicola's outfit, her little mauve outfit, on the vintage pink, and so to make something completely different so that they don't have exactly the same thing, which they're not going to anyway, 'cause you're going to see the variety, I would take Sally's outfit to the powder blue. I think there's enough blue in there just to make that perfect. If it was a blue dress, I probably wouldn't put it on the blue. And then I see this. Now Sally has brought this in and when I saw this, I nearly fell over and died 'cause it's so beautiful, and she doesn't have a bottom half for it. Now I have two choices when I see something this beautiful. I can either put this with jeans and create kind of a Guess look, you know, sort of Guess jeans, big sexy hair, gorgeous makeup, jeans with glamor to me just like boudoir and fashion, go together beautifully, but, I looked in my shooting wardrobe and I found one of my skirts, and one of my beautiful skirts matches this like a dream, so, I'm very lucky that I have these skirts available for my clients. I feel like this is going to take this outfit to the next level. This is the sort of outfit as you know, that I could photograph on every single backdrop and it would just be the most perfect thing I've ever done and seen, because this is you know, this is the sort of outfit that makes me just love being a photographer. (laughing) So, I'm going to say this one 'til last, for Sally, it's her wild card as well, in terms of how I'm going to shoot it. I'm going to wait to see what it looks like when she's on it. I'm going to have my choice of these colors and really, I wouldn't care what she did in it 'cause it's so beautiful so, now you've seen their outfits, you've seen how I've mapped it out, you've seen how I've matched the girls together. What I'm going to do for you now, on this video, is I'm going to show you the sequence that I've just talked out to you so that you can see in my mind what I'm seeing, and as we go through it you're going to watch it unfold. Now, we're changing the corner colors and we're changing the outfits, and as you know, we're going to change to three props. So today, we're going to freestyle, which means stand up with no props. We're going to use the barstool. We might use the white box, and we're going to use the white loveseat, and that's it. Everything else we do today is just going to be in this little corner, it's all about simplicity. So let's see how much variety we can get two girls. Let's go. So as you can see, I've got my little corner set up. I've got my beautiful white curtain. I've put a little wee apple box here, because I want Nicola to sit on that, and then I'm going to pose her. So what I want you to do, is just sit on the edge. So maybe lift your skirt up so that, yeah, that's it, so you can just sit your bum there, and maybe your right foot, just tuck it back that way so it's comfortable, and you can put your knee down on the ground. So really, that's just to elevate you, and give me lots of frou frou in the skirt. Look at this beautiful skirt. And let's put it between, a little bit between, and pull some forward, that's it, gorgeous. But what I don't want to do is lose your waist. And okay, so, just for the first shot, bring your toe towards me, and then, keep going, and that's going to drop your knee down, a little bit more, that's it, so keep going. Now sit upright, and just do cover girl with hands on the waist. So, I want you to sit up nice and tall, that's the one, push this knee forward to me a little tiny touch more. Okay, just 'cause I want to drop that forward there. That's it, now stay sitting exactly upright. Turn your body towards me. I'm going to tuck this little strap in, this side, perfect. All right, so, that little wee touch of stray hair, right there, beautiful, all right. Sitting up nice and tall. Now bring your hands in, further into your waist, that's the one, nice and tall, and then push your chin towards me, good girl. Lift your chin up touch, just slightly straighten your head up to me there, a little bit more this way, sorry half way, stop. Okay, putting your chin long, but not down, so just forward, stop. Now, soft eyes, tiny little smirk on your lips. Got it, don't move. So I'm shooting straight back into that light. This is kind of my cover girl position. I'm going to shoot always about, I'm actually at 640. I'm going to open it up to 2.8, because I absolutely love that, and I'm currently, just going to meter to the eye, push that chin up a little further to me, and that's a girl, stay there, and nice soft eyes, good girl, little bit small smiling in the eyes, that's the one, stay there stay there. So, even though she's sitting, this, now what I want you to do is slide back with that foot there and just bring your elbows forward onto that knee. So, maybe one, I like that one, but let's put this one up underneath, so there. Okay and it can go, sitting nice and tall there, good girl, and point toes. Not that I see them, but I always think when your toes are pointed, your legs look longer, nice relaxed hands here, that's perfect. Oh I love these colors, they're amazing. That is so beautiful Nicola, love it my dear. Perfect, okay, let's change, because I like it. No, just bring those hands straight up and just cup under here, that's the one, so just around your throat a little bit more, maybe turn it this way, just touch down, that's it, now long chin towards me. Nice and soft chin up a little touch. Good girl, don't move. And I just want a little, little smile, soft eyes, see you got it you got it that's beautiful okay from here, I want you just to do something a little bit more relaxed. Just pull, that's it, slight tip this way, and just let your fingers go out into your hair. Don't move, love that. Good girl, and let's do that beautiful big smile, go. (camera shutter clicking) Perfect. Okay, from here, what I want you to do is, let's stand up and get rid of the little box. Okay, so you can just slide it towards me, that's it. I want you to sit with your back against this wall, so you're still on the backlight, yeah, sit down, and I just want you to sit with your feet, so mirror me, that's exactly right. And I just want you to come back against the wall here and very very gently, I just want you to roll forward, so nice bad posture (laughing) okay, so just let your shoulders, that's it, so then bring your chin all the way around here. What I'm going to do is just fluff you out, just a little, that's the one, and when you touch the wall, so hand down, can you touch the wall, your elbow can touch, but your hand is coming in, nice and soft to the front of the camera, and I just want you to roll your shoulders off the wall and bring your chin around, stop don't move. And that's going to open that up. With your right hand, just bring forward at the back. Good girl. Now, yeah, wow, this is gorgeous, okay. Little soft eyes for me, that's the one, and roll forward even more so off the wall, so bring your chin back, now give me that shoulder. No, this way, good girl, stop. (camera shutter clicking) Oh that was amazing. Okay, chin up to me a little bit more, more shoulder Nicola, just put it, good girl, stop stop. (camera shutter clicking) Let's just try, stay exactly in this knee position but just rotate your body around to me a little bit more, stop that's it. Now push away from the wall. Maybe your sort of bum, that's it, keep going until I can see light through there, that's the one, and I just want you to have this hand on to your thigh, and just bring your chin around straight to me this way, don't move. Oh I love that. Okay, push your chin towards me and down, now give me that little wee soft, that's it, just ever so slightly, beautiful, now, bring your right knee up, so, keep the skirt over there, and just bring this one up, that's it, and what this does is, it gives me the ability to do this. Right, now, I want you to work and roll this shoulder, so, I need this hand to be soft, that's it, elbow soft, elbow goes into your bodice, into there, that's exactly right. Try turning it around this way, that's perfect. Now just work your chin, and that's the one. Just going to get a little bit more skirt 'cause it's so gorgeous and I have to get that. Okay, and, come closer, just going to get your hair. That's right. Work that shoulder for me, that's gorgeous. Don't move. (camera shutter clicking) Soften it up on the front for me though. So bring the shoulder forward, that's it, keep a little bend there, that's the one, I'm going to repeat that shot. Give me that little wee smile. Now, I just want you to bring this knee towards me a little bit more, cross both arms, that's it, sit forward, that's the one, and I just want you to bring your chin, just go like this with the back of your hair, I'm always watching that light coming through the back. Stay there, not a hand towards me, so just slide out, just your right hand across, put it up and over, yeah, a little bit more so I can still see the arm, keep coming up, no no no keep your lift on there, that's it, don't move. But I'll just put that away from the camera in the front. Work that shoulder towards me, that's it. I love that. Okay lift your chin up, drop your shoulder down just a tickle, that's it, push your chin towards me. I just need that with a huge big beautiful smile. You got it, good girl, amazing. Right, now I'm going to swap you over. So your next outfit, I would like you in the sort of aqua green dress, the little aqua green dress, and we're going to shoot that on the white. So you go and get changed, and I'll bring Sally in. I've got a whole program coming up, an entire program coming up on shooting this backlight, so I don't want to talk too much to the backlight, because I know I'm going to do that as a challenge, but I just open my ISO to and put an auto white balance on, because you'll see the results change and I'm going to talk about that a lot. All right, what I want you to do darling, is I want you to put your hands out like this, and then I want you to pin your elbows back. Not your shoulders okay, that's it, so just like that. That's the one, now drop your shoulders down, perfect. Now push your chin towards me and then just drop down here. Right there, standing position, just tip your chin forward, a touch more down, stop, don't move. I love that, now nice soft eyes for me Sal, and a tiny little smile on your lips, you've got it, don't move. (camera shutter clicking) Beautiful, I'm just going to up one more. Bring your shoulders back to me, they're just, that's it, just those elbows, perfect, now chin towards me a touch more and down, there you go, little bit more in the eyes, yes, perfect. (camera shutter clicking) Okay, I love this, straighten your head up to me and just came straight forward, that's it, don't move, I'm going to come across this way, drop those shoulders down so that they're not sitting up. (camera shutter clicking) Now, relax your mouth completely, that's it, I love that. Natural mouth is perfect. Okay, chin down, a little touch more, that's the one. (camera shutter clicking) And I'm pulling back and I just want this beautiful big smile, go. (camera shutter clicking) Okay, from here, I just want you to hold your elbows and I want you to actually, don't go sideways, I just want you to tip back, so, turn your body sort of 45, that's it, and just open your shoulders up to me, long chin towards me now, and then, that's it. All right, now, I love this side, but, I've put the hand in front, so I just want to put this underneath, good girl, just wrap it around you, that's it, and then sit back, now long chin to the end of your shoulder, and lips together, tight, yes, don't move. Little tiny smile in the lips. (camera shutter clicking) Incredible. Okay from here, I want you to turn, turn your back against the wall, and I want you just to touch with your shoulders, let this hand go, and just touch the back of your bum just with the hands so that there's a bend in your elbow, okay, now chin around, and just pull off the wall a little wee bit so you don't squash your hair and bring your chin around to me now, there, stop. Leave that little curl. Okay, long chin to the edge of your shoulder and down. Okay, lips together, start there, tiny little smile in your eyes, good girl, that's beautiful. (camera shutter clicking) Okay, chin forward to me a little bit more and down, stop, amazing Sal right there, (camera shutter clicking) I can see it. (sighs) Okay, and there you go, okay, perfect. So now, I want you to just roll your body towards me, to a 45, that's it, stop. This hand can just stay, oh no, leave it where it was, it was perfect. This one, I want it to come over and just shape your hip. Elbow goes around your body, that's it, perfect, long chin towards me and that's the one. Maybe come back up some you look like a Barbie doll right now. Long chin down, that's it, good girl, down, lips together. Stop there, tiny little smile. (camera shutter clicking) Little less than that. (camera shutter clicking) Amazing. Oh look at this. (Sally gasps, both laugh) Okay, relax your mouth, chin around this way, stop, down a bit more, (camera beeps) your daughter's going to be like, "Mum you look like a princess." (camera shutter clicking) (laughing) All right now, from there, all right. What I'm going to do is, I'm going to show you two variation poses with different shoulders, different compositions, in every single scenario, and then I'm going to get the girls to change and move on. So, if I was in a full shoot, I would take 10 full minutes in every outfit. Today I'm going to rotate the girls fast, so I can just show you the best of, and so I'm no going to get Sally to get into her green and white outfit, because we're going to go to the white corner, and then I'm going to shoot both girls on a white corner. So these are the shots that I just got from the backlight, for both girls, in the watermelon and the mauve frock, That's how I changed them over. I have one getting changed with my makeup artist when I'm shooting the other one, and I'm building too folios at the same time, and they're both having a fun day watching each other being shot, watching each other have their hair and makeup done, so now I'll get the girls into their next sequence, so green top white skirt. Okay, so as you can see here, I've chosen the white alcove going this way. My light source on Nicola's right hand side is not directly towards her, unlike normally where I have a window here, so I'm bouncing this reflector back to her face and the further I can bring this around to her, the more it lights her up. So, this white light is just coming straight off her to there, and now what I'm going to do is pose her on this wall, on this little alcove here. So what I want you to do, Nicola, is turn this way towards me, that's it, step half a step toward, that's it, a little bit more. Now I want you to put your back foot up, like that, and I want you to lean back with your shoulder. That's the one. Now, I'm always trying to create this space here, that's it, so if you just lean back with the back of your arm, perfect, and then your right arm can come up to your thigh and then just slide up and back. So a long chin towards me here, don't move, good girl, that's perfect, and just bring your chin around a little wee bit more don't move. So I'm going to start cropping, as you can see with my angle, I'm below her eyeline, absolutely perfect, I want you to start lips together Nic, and I just want you to give me a tiny little smile in your eyes and bring your chin up half an inch. So, Nicola, your default sitting is to go chin down, so I'm going to constantly say chin up a little, and then tiny little smile in the eyes and mouth. Perfect, that couldn't hae been better, I love it. Now, I want you to do exactly what you just did then, but I want you to overextend your body more, okay, not so much pushing boobs out, but, more pushing hip back, that's it, so I want your bum just to touch the wall. Got it, now, just that simple movement to me, creates such a different body language. Chin around to the shoulder more, pushing your chin towards me, chin up half an inch, stop, see the difference in this shot here now, now go lips together, tiny little tickle of a smile in your eyes and mouth. (camera shutter clicking) So we had the expression, the first time, but I just wanted to see her body work a little bit further, so now, let's go opposite. Change the weight of your feet to the other foot. Stay leaning back with your shoulder, let this hand hang to the inside of your bum, and just bring this knee up, so that's a girl. Now, 45, your shoulders come around to me this way, that's the one, stay there, okay, now, kick out your hip behind you, perfect, drop this hand down, and this brings this shoulder in. Now chin comes to the shoulder now, don't move don't move. I'm going to come in a little closer and get this beautiful line, chin up to me half an inch, good girl, tiny little smile in your eyes, love that. Okay, from here, let's go, maybe bring that shoulder around to me a little bit more, keep going, now lean on to this forearm, kick that hip out that way, long chin towards me that's it, stay there. Absolutely perfect, now. Just want to get in here, gorgeous little smile, love that. Okay I want to come in a little bit closer. Chin up to me now, good girl, just going to open you up through here and let some light come into your cheek. And oh my goodness, that's so beautiful. Little wee smile, little bit more, you've got it, that's it. Stay there, I'm nice and close now. Chin towards me, pushing, stop, nice soft eyes. Gorgeous. (camera shutter clicking) Okay from here, I want you just to stay in this position and fold your arms, that's it, so, fold them, relax 'em so that they look comfortable, that's the one, now long chin towards me this way. Stay there, pushing that hip out away from me, and I would just want a beautiful big smile, go. (camera shutter clicking) Oh love that, chin up to me a little bit more, okay, and relax your mouth, lips together, tiny little smile here. Chin up to me, keep going up, stop. That's it, stay there, and let me get in nice and close and get you in. Let's take that hand away, so I'm just going to show you what I didn't like about this shot. When I got into here, I felt like all I was looking at was that hand at the bottom, as you can see, so swap hands so that that one wrap around. That's it, perfect, now chin up to me. Now I can see that beautiful belt and I'm not looking at her hand, so chin up to me, little wee smirk, and we're right there. And just have a look at the difference between those two shots. Sometimes it's so easy just to miss something so small and it's really really important that we work in those. Now from here I just want to show one thing. I want you to put your hands, stay the weight on that back foot, and the way you just were, so stay shoulder, that's it, swap. That's it, now, just touch the, let your hands off the wall though. Okay now, I want you to kick back your booty this way so if you have to swap feet, yes, that's exactly right, so just bring this one around so I can see the shape and the small of your back, that's it. Now bring your shoulder off the wall so you're only touching, no, the back one towards me, that's it now lower with this hand now, and I just want you to bring your chin around flat now and then chin up to me here. Okay, it's really important that I get this line here. This is the most amazing line from the front, because what I'm trying to do is create that hourglass, just like that in that way, and I'm just getting that shape that's so perfect. I'm just going to hide your bra strap. Okay from here, this shape to me, when I pull back this far, is just the absolute perfect shape that you can get on a body, so hang on, I didn't see that. I just want to open up that eye. I don't want hair over the eye unless they sort of, like it looks like it's meant to be there. Okay, lots of arch into your back Nic. Bring your chin around to me a little bit more, and there it is, right there. So when I pull back this far, if I'm going to get this body line, tiny little smile, perfect, you got it, right there. THat's where I want to be, lots of shape in the body, lots of length, working that front shoulder, making sure I've got that curve, working this shoulder here, perfect. So your next outfit is going to be the gold dress with the one shoulder, you can go and get changed into that. So from here, exactly the same thing but what I'm going to do is photograph the front of this outfit, so straight back against this wall, Sal. Come towards me a touch, that's it stay there. I'm just going to tuck this little naughty hair in. Naughty fringe? And, I want this hand to come up onto the sort of hip thigh, that's it, and around your body this way. Now just bring your chin towards me. Now what I'm going to do is, I'm posing this. So, Nicola's so tall and long, and I got her this way, Sally is more my height so what I'm going to do is bring her straight around to the camera. Nicola's shape was all about that dress. Sally's shape is all about this waistline, definitely the decolletage, and definitely this necklace. So, I see this being all front on. Now I don't have a problem photographing two different girls in a similar pose, because I know that they know each other and they're friends, but they're going to have a different folio, but I do want to mix it up a little bit. I want to keep changing my poses, and I want to make sure I'm giving them some variation, so, it's not just about repeating the exact same pose for both girl, but it's about shooting in the same scenario. So from here I've turned Sally to the front. I've shaped her body by bringing her elbow around there, and I just want you to bring your thumb in, so it's not sitting out there, good girl, perfect. Now your chin comes toward me, directly towards me. And as you see, I'm going to shoot directly below Sally's eyeline. Now I just want you to tip down, so this top is making your eyes go exactly the same color. So hopefully the camera picks that up, because it's amazing. Now I'm gonna, just turn, ah, chin down Sal. Stay there, chin down a little more, okay, don't move. I'm going to do two things. Susan, could you please get me the 50 mil lens, turn down a little bit more? I'm just going to show you something that I'm noticing in this pose. Oh wow that's beautiful. What I'm noticing, is I feel like Sally's right shoulder is pushed back too far because it's very common, in this pose, to pin the shoulder back. So roll it towards me. So, the only time I make people really roll their shoulders forward and that is, to try and bring it back. Now I'm going to take exactly the same shot, that's it stay there Sal, and see if you can notice the difference. Okay, I will stick up some hair there, so if I pull it back, to me, bringing that shoulder in makes a significant difference, 'cause I don't want to push it away. I'm also going to show you the difference in when I swap my lens over. I'm shooting in a 35, and now I'm going to go to the 50. So I'm going to go to the 50, I'm still at 2.8, and I'm just going to, obviously, I can't get this close, so I'm going to be here, and I just, nice little smile through the eyes Sally you got it, that's beautiful, don't move. Let's have a look at this. Now when I compare the three of them, what I think is really important, is I don't want to change the shape of her body too much, and just shooting on that wide can be a little bit too slimming. So I'm going to get you to just tip your chin forward. I love this, I'm staying on the 50. It's a very subtle change but it's enough to see. Now bring your chin this way Sal, and down. Now, so, don't come forward to much as in, pull your shoulders back and then just come down, so towards me and down, that's it, you got it, don't move, I love this. Okay towards me just a tickle. That's it don't move don't move, wow. (camera shutter clicking) All right, as you can see, I want to focus on the decolletage. I also want to get this little tip here, that's it. So maybe, just tip away, that's a girl, not so far, just come one, okay, come back to the start. Follow me, tip, that's it don't move. Okay, so let's see how that works. Now, this is only going to work if you push away from this arm a little bit more, and really fall into this pose, that's the one. Now there, turn down a touch, and let's do a gorgeous big smile right there, I love that. I only ever tip the head when I smile, because I feel like the body language of a smile is more like this. I feel like sometimes when people smile really upright that it doesn't quite work, but I feel like the tip and smile belongs with the body language of that, so that was just a little throw in there. Okay from here, I want you to roll back onto your shoulders. Stop, now, I just want you to, okay this is perfect. I'm going to show what I don't like first. Bring your chin around to me, so at the moment, Sally has rolled back, and if I'm shooting this here, nice and close, then I like what she's done, so right there, okay, but, the second I pull back, I feel like there's no shape or her body's not in a very relaxed position, so I rolled her back but I didn't change the weight of her feet, that's it, so as soon as I change the weight of her feet, she kicks her bum back to here, actually, what you just did, do that again, was perfect, so just kick lots of booty back. If I can create that shape there against the wall, then it changes my shot, so let me take that, so bring your chin around that way, stop, don't move, good girl. Now that to me, better shot, right away, because straight away I see that shape going down the wall and that to me is absolutely perfect. Now, give me a tip out, not so far, and come around that way, that tip, don't move. Just come down, maybe at the top end. Don't move, I'm just going to make sure that she doesn't squeeze her head. Also, she's got beautiful earrings so let's open that out. There, and give me a tip. I'm going to come in nice and close. This is going to shoot like a just a cover girl, chin down, stop don't move your mouth, that is absolutely perfect. (camera shutter clicking) Good girl, right there, and then, we've gone side, side, let's maybe bring you just away from the wall, so stand up tall and just turn around and face me this way. Now let's very similar, okay, how about there and then let this hand go behind you so it's got to go straight down. So find your that's it, straight down here, so yeah, I've got a straight line on this side. All right, long chin towards me and square, that's it, let's try and just come down off the wall so, when I do come off the wall I just want to make sure I'm not really shooting that wall line. Okay, just bring your chin that way Sally, now down, okay good, there we go that's perfect. Also you know, I'm a big fan there it is, and I love that. You know, I'm a big fan of the fan, so I would definitely put lots of fan into here normally, but I can't speak to the camera and fan at the same time, so I'll just skip the fan, and come out another step, that's it, so a little higher with your hands. Now, long chin, really symmetrical, chin down. I don't mind pulling people away from the wall, as long as I'm getting really good light and I bring this with me, that's perfect, and this is my cover girl, I love that, all right. (camera shutter clicking) All right. Now I just want this nice and tight up here, long chin forward and down stop, got it. Now remember, (camera shutter clicking) I'm always for every client, going to take a face shot. Okay I want your hands down, Sal, I want your elbows tucked in, not shoulders though, so keep out, good girl, long chin towards me and down, stop. That's when they come to the top of the head where their hair parts, to usually I would say the boob line or the nipple line. I come right in that close, I make sure it's slightly asymmetrical and I'm getting a face shot that you don't crop afterwards but it's that face shot that everybody loves so I'll just make sure that there's lots of hair framing, that it's right in here, and I love that, there it is there. Perfection, love that, okay. So your next outfit is the little pink sequins, 'cause it matches Nicola's gold sequins. What I'm going to do now is, I've got Nicola in her gold dress. I love the earrings so much I've opened the hair up a little bit. Instantly when I see this, I just think it looks like a cover, so I'm going to shoot kind of cover girl style, just because it's beautiful and I want to use the shoulders, I want to use the hair and I want to use the shape of this one sleeved dress, so we'll tune it both ways so we'll do a cover girl and then a rotation. So from here, stay there, I wanted to show one thing. I'm shooting Nicola straight back here and from my position, no you don't need to change anything, I'm just going to take an upright position of you. It's so easy to look at someone built like Nicola, look how tall she is for starters, and lean as well, and just think, "Well she looks like a model, "and it's so easy to photograph people like her," and you know, I just want to show you how contouring the body with lean frames, it's so important, it's no different than curves, remember, we're trying to create the same shape. So, I just took a photo of you standing there. Now what I want you to do is something this simple, is to do the hands back, that's it, and I want you to tuck in this side, that's a girl, don't move, and so that simple movement in pushing your chin out, oop chin, I went like that and you moved your hip. (both laugh) Pushing your hip out that way, just to shape your body, and now bringing your chin forward, okay, so it doesn't come down, it just comes forward and if anything, slightly up. So give me a slight tip, that, ah, that way, it's beautiful good girl. Long chin towards me, relax those fingers around your body and come back up there, lips together. Now I'm in the same position, so let me just take this, push your chin forward now and give me a tiny little smile there. Look at the difference in her body shape. Look at her body shape, look at her body language, look how it changes everything forward and back. Now, stay there, let's tuck this one in as well, that's the one, don't move, now long chin towards me and up, okay now watch this. So right here, she's got shape, lips together, give me a tiny little smile here. I haven't changed my position, and now look at that. That is absolutely incredible. That's what I want to see. I want to see everybody teaching their clients how to shape their body to make it look amazing. Also, remember, when they're shaping their body and working their body, they're listening to what we're saying and they're not thinking about being photographed, so just tuck this elbow back now. I want you to push your chin towards me, that's a girl, stay there. Right, from this position, I want you to lift up a little taller and I just want you to give me a tiny little smile in your eyes here don't move. (camera shutter clicking) Wow. That's incredible, chin forward and down a little bit more. That's it that's it, okay, from here, let's bring this straight up into here, tuck this one behind pushing your hip out that way, so don't turn away from me with your hip, just push it straight, good girl. Now let the elbow follow, now long chin towards me, and pushing forward and down, that's it, don't move. From this position here, I just want that killer smile. Okay, bring your chin back this way, stop. Okay, life up a little bit more, lips together again, raise it, push your chin forward, that's it, right there, I love that, and a little bit closer I am. Now let's look at a rotation with you. Let's hold your elbows underneath, and this one flat underneath on your tummy, so wrap it around your waist and on your tummy. Now just slide this one over, that's the one, now, I just like it like that so I'm going to kick that hip out that way, push your chin towards me now, good girl. Okay now hold those elbows tight to your body, so it's wrapping, good girl, that's it, wrapping around your body. (camera shutter clicking) From here, push your chin up a little and give me a tiny little smile, that's the one that's the one. Beautifully done, now, I want you to slowly move around, stop, now that to me, perfect shoulder, watch this. Long chin towards me next, stop, bring your chin down again where it was, I actually really liked that. Okay, stay there, that's it, tiny little smile here. Okay, have a look at this shape and see if we can change the shape, now, just change the weight of your feet, no go back, now, exactly as you're doing but kick your bum out at the back, ah that way, so that's it, okay, don't lean forward though, so that's it, now long chin towards me. For some reason when we kick our bum back, we tuck our chin in, look at that! Okay stay there stay there, okay, we've got beautiful shape, chin around, that's it push your chin to the edge, and kick that booty back, that's it that's it, not too far, don't lean back with your head, that's a girl, bring your chin around. Okay, straighten your head up and bring your chin down this way, now, what happened then, was when I moved her bottom half, her top half kicked back, then I said "Don't kick your head back," so she came forward but I didn't guide her forward, she just came forward, so then what I did was I reset the position. Stay there, it helps if you bring your back foot up, and that would have made it easier, there. Sorry, your front foot. It would have made it easier to kick your booty out if I'd said that right from the beginning, instead of you trying to kick back and throw your head back so now we've set the feet, you've set the booty, we love the shoulder, working the shoulder forward, yeah, now straighten your head up to me now and come down. There it is so, look at the shape here. Okay, tiny little smirk, good girl. Oh I love that, okay from here, take this hand out, touch down the bottom, open the shoulder out to me just a touch, take this hand away, take that straight down, lower, that's it, and then no, stay open I like it. Push your chin towards me, that's it, wow, that's so beautiful and all I've lost now is those beautiful earrings so I'm going to open up through here, stay tipping forward here this way and now bring your, don't move. Oh my gosh, look how beautiful this is. (camera shutter clicking). Half an inch up with your chin, relax your mouth so your bottom lip is (sigh) oh that's beautiful, don't move, this is your face shot. Okay, chin up to me, just half an inch, just relax that mouth, Nicola, that's a girl that's a girl. (camera shutter clicking) Ooh. (laughing) Oh I love that, shoulder more shoulder, and as I do that, I'm going to pull back, chin up to me, half an inch, don't tip back, so tip the top of your head back this way, and chin down this way, so as you can see, what's coming out of this camera right now, (sigh) okay stay there. I want you to turn away from me, stop. Okay, don't hold your lips, let them go, that's a girl. (camera shutter clicking) Lips together, little smile, that's the one. Big killer smile, go. Oh, beautiful. Okay, relax, come out this way and I'll swap over, actually no, I'll get you changed. Your next outfit, I can se it in my mind, is going to be on the beautiful pink vintage, and it's that mauve bandage dress, it's kind of mauve gray? Hm-mmm. Okay, you go and get into that. Okay, Sal come on down. In terms of seeing this lighting scenario that we just did with Nicola, I feel like I shoot, I'm always shooting for the girl. So I'm always shooting the sort of look that I think the outfit that she's chosen suits. I think the outfit, it's not about the clothes, it's about the tone, but I think the outfit helps me decide how I'm going to photograph it. So to me, that simple rotation, starting front on and that simple side rotation, it suited the one-armed dress, but really, it was about that cover girl look, and the gray green to me, really suits it. So, Sally's also in sequins, and it's changed everything, because, other than the fact that she has a different look, with Sal, this whole flower thing is going to make it very very, more of a beauty shot than a cover girl shot, so what I'm going to do, I just need some help. I'm just going to put this here, and I'm just going to get my hands free, so that I can change the position of this flower. As you know, I buy flowers that clip in and pull hair out and make scalps bleed. (laughing) If I'm going to come in to here, I love this shape. Right now I think this shape is beautiful. I love that flower, it's gorgeous. I'm just thinking, do I bring hair out, no I don't. And Sally's hair has blonde highlights, and of course blond highlights always photograph so beautifully, so lucky, because you get all the color textures. Right, so now because I've put that there, I feel compelled to do two things, one of them would be to wind your hair back just quickly, so, for beauty shots, as you know, I like to keep them really simple. All right, so, I'm going to lead with the flower, that's it, so I want you to come back this way, that's perfect, long chin down. I'm going to bring her hair off her back, right there, so it's just sitting flowers on her shoulder. So from the front, let me see what I'm seeing. Stay looking down like that Sal. I'm shooting below Sally's eye line right to here. I don't have to kick her booty back because in this position here, it's actually in my favor not to, however let's look at one thing. At the moment, her arm is straight up and down, that's where she's comfortable, but if I get her to just hug the outside of her thigh, out here a bit more, and lower, down, that's it. If I can bring her arm on this angle, and show off her breast line, then watch the difference between this shot and now with that shoulder forward, Sal. That's it, and look down with your eyes, I'll take exactly the same shot. So to me, that simple movement of just elbow back, big difference. Now, long chin to the end of your shoulder, that's it, keep that little elbow back, that's the one, always having space between her chin and her shoulder, and there it is there, so absolutely beautiful. Right, let's use the wall a little bit, so step back, until your bum touches the wall, that's it. And now bring your, that's it don't move. Now what I'm doing is I'm using the little shadow that comes off the wall there and, (camera shutter clicking) that's right there. That to me, absolutely incredible. Right, we don't want to keep taking the same shot, so what I'm going to do is move it, so step away from the wall again. This time I'm going to move her flower. So it's in there by one pin, and let's have a look, ooh sorry. (laughing) Let's have a look where we can put it, 'cause we can take it straight out of frame and right now, look at her hair, as we've just popped that out. So I'm going to put it down, let's put this hand straight back like cover girl, it goes this way, and you've got a great ring on, I didn't even see that, so, let's take it down a little lower, onto the hip, now work the hip line, let this hand go on to your thigh and chin around that way, stop don't move. Okay, eyes to me Sal. So I'm going to shoot this straight down this way and let me find the angle and I'm going to shoot it nice and low, top of the head in my crops, all right, from here, what I'm doing is I'm shooting nice and low, nice and long, I'm just on the bottom of her chin line. I'm pushing her chin forward, I'm still on the 50, at 2.5, and I'm always making sure I focus on the eye, so now I love this. So I'm going to now rotate her in this position. So stay in this position and just open up to me, stop. Now the body changes significantly, back with the hand. The body changes significantly with that little rotation like that, so let's have a look at it. Bring that hair back into frame, and tidy up a wee bit, slightly tip in. I'm not changing my position, I'm changing hers. Now bring your chin down to me Sal, that's the one, don't move, have a look at the difference between one and two, just opening her shoulder up. Now, let's change the weight of her feet, so other way, that's a girl, and that pushes her bum away from me, and when I push her bum away from me I'm going to open her up even more, that's the one, now long chin straight and now down, stop, don't move, I'm in the same position, and that simple rotation, I'm just going to come closer, chin towards me and down, stop, there you go, that's beautiful, now, do I want to crop that arm off? No I don't, so let's slide it to the back of the bum, now slide down, stop, still working the shoulder, but not over the shoulder, that's it. I'm going to bring that hair back onto there. And now very gently, open your shoulders, that's the one. And now your right elbow goes back, sorry your left, my right. Now that your arm is coming into position, go lower, I can see this one, so long chin, and there it is, same position I just got before but I've brought her arm back into frame. I'm still cropping it out, but if you look at the last two, side by side, I don't want to crop it out too much. Let's do the exact same position with working the shoulder forward, okay don't move your body, just work your shoulder to in, don't don't move your head either, that's it, now long chin down, stay there, and just have a look at that. Which one is better? Which one do you like? Let's have a look, one two three. Bid difference, big difference in shape. It's definitely going to come forward. So now that it's forward, I like that, let's keep the other open, 'cause I don't want it to, actually, what you just did was perfect, let's show everyone. If I hide Sally's waist here, when I pull back, if I hide her waist line, now, open your elbow out, stop, shoulder comes forward though, chin goes down to your shoulder, if I just close it down, have a look at the difference in her waist from this position, because obviously, if I cover that I don't get that beautiful line there. So making sure you're working the shoulder and the elbow always, turn towards me Sal, let's just do a little cover girl here with your shoulders forward, drop them down, it's like a flat table and it helps you bring them out, helps you bring your elbows in, now that's a girl, now long chin. So, wherever I'm in this position, I definitely have a penchant for large hair, lot of big hair, so I'm going to put that there and there, pushing your chin forward and down to me now, good girl, stay there, down a bit more, okay now, pull back with your chin a little bit now and in like this so it's not too far forward, that's it, so come down stop. All right and here we are here, this is a nice little cover girl shot, nice and simple, it's always one of my faves. Pull back a little wee bit, lips together, chin down, tiny little smirk, good girl, chin down a little bit more, that's it, and beautiful big smile, gotcha. Okay, and then a turn away from me this way, okay, we did that way, let's go this way, all right. What we need to decide, is if I bring that flower back in or not. Okay, I'll bring this up here. I don't want to repeat a shot. It's too easy just to keep going this side, this side, this side this side, so it's really important that we look at it. If I bring the flower back in, I want to do something different with it, so maybe what I can do, should be like that, in there. Yeah, I'm going to shoot this like this. Nice full hair on this side, okay. Do table top again, elbows back but not shoulders, that's it perfect, chin down a little touch, that's it and we're right into this line here, ooh I like this, okay, just bring your arms forward a little more so your shoulders aren't so pinned back and then, that there is what I like, chin down just a touch, good girl, nice. Been going crazy, aren't they? (laughing) She doesn't blink much, some people blink a lot. Okay, chin down let's go vertically, that's the one, and we're there, I'm just going to toggle my focus up so I don't have to move too much, chin up half an inch, so there, it's so beautiful, nice and simple face, and there we are there. All right, beautiful girls, let's let me pull back one more, chin down, okay, and I just want mine about here. That's it, all right, so the sequins, love the sequins. Okay, I need you in your, the blue, in the little vintage, in the nude slip. Okay. You're going on the powder blue wall, and Nicola's going on the vintage pink. So the girls are ready for their next sequence, so let's have a look at this one. I just want to take you back to Nicola. I feel like that gold dress absolutely changed her everything, she just suited this dress so much. Sometimes you see a dress off people, and you just wonder how it's going to look. You get it on them, and the color and the shape just makes you go wow. Moving her around like that absolutely incredible, just a basic rotation around, letting her move around, pulling forward and back, and getting different expressions out of her. Her fire from this gold dress will be in my top favorites for the shoot. Sally's over her shoulder, you got to see some great arm movement to shape the body. I love that looking over her, that's absolutely beautiful, the flowers, and then we come through, that's cover girl again, 101, absolutely lots of shape in the body, working the shoulder, pushing that chin, it's all about that expression and always making your clients have the most beautiful face expression that you can get, and then I'll always take a gorgeous smiling shot of both girls like that. Very good, now I'm moving in to a new background, so I'm going to change to the pink. I'm going to change to the powder blue first for the girls and I'm going to try okay, let's swap over, next sequence. Something I really love is every now and then I'll be talking to a client and they'll just do something perfect, and I think I did not pose this, this is how we were comfortably talking to each other, and I always say to my clients, when I'm speaking to them, I always have them on the set, not off the set, because it amazes me when people relax, how incredibly they can pose themselves. So what Nicola did was exactly this, so I went, "Don't move don't move!" (both women laugh) So what I want you to do is, to take this hand, just on top of that hand a little bit more and slide it across. That's it, and then really push down with the shoulder, so all I changed was a little bit more work it, and then I'm going to get you to push your chin towards me a little bit more and then straighten your head out, that's it. So, I love it when I chat to people, and I see this, pushing your chin away from your neck, good girl, don't move from there. I'm just below her eye line. This is the first time we've had a look at our little vintage pink background, and I think it's amazing so lift your chin up, the lips to give a tiny little smirk, I'm just going to come lower so you really need to overextend the push toward your chin towards me, and down. There, I love that, don't move. Now the only thing I, (sighs) the only thing I want you to take out of here would be this one here, and let's just take it up to your shoulder, and then just let it fall out 'cause I love this ring, so I just kind of sorry, I just touched my microphone. I just want you to come up to here that's it, and then long chin up this way, so this shape here is absolutely perfect for me and I love this all right. Lips together now and when you bring your lips apart just ever so slightly, it has to be like you've got it, that's it don't move, I love that. (camera shutter clicking) Okay, now I want you to keep this hand up on your shoulder and I want, that, that, stay there that was perfect. See, chin forward, I was going to direct her to do something else, and when I looked at her, I was just like, that's working, so I just stop and take a shot. Okay from there, lips together, tiny little smirk, good girl, right, I'm not enjoying this hand, so I'm going to move that, so I can either bring it in, that's the one, and just bring that thumb in, so it's not grabbing. Okay, fingers into here a little wee bit more, and just bring that thumb in, that's the one, sweep your hair across so that there's a reason that your hand's there, that's it, and turn this hand out just a touch. Okay, long chin towards me, there it is right there, love that, lips together, so chin up. If you're going to bring your mouth open, it only comes open just a tiny touch, not too much. So just let that mouth open just a tiny bit. Chin up, lots of twinkling eye there good girl, that was perfect, okay, oh wow. Right, from here, let's, I just want one little cover girl shot like we did before because I'm shooting this mauve dress, we wondered if it was going to work on the pink, it's totally working on the pink. I want you to bring, let me have a look, I'm just getting a bit of light come in, so I'm just going to find it. And I can see, so everyone I want to show you something. The sun is coming around, it's getting stronger in the afternoon. I don't want light leaks like that, so I'm going to look for it and as soon as I find it I can just adjust this curtain so, I can either cellotape it, stick it, chin up to me, little wee bit more, I'm going to hold it in the hand, now bring your chin forward until I say stop. Don't move, okay, beautiful Nicola. That's incredible. All the colors of this are working for me. I'm loving the mauve of the dress, I'm loving this little vintage color, because I'm shooting at 2. you can't see the beautiful texture but that doesn't matter. Okay, but I want to try something different, so, I'm going to bring in this little box. All right. Love this, this is not going to be very comfortable for very long, so I'm going to have to move here. So I like this shape and everything. I'm just wondering if we can't get your right heel up, so that you're like this. Let's try that, now, Nic's got really long legs, so I think it's going to be easier if your heel touches the end of the box, and then goes over with your toe, 'cause that means that you can extend it out a little bit more. That's the one, now let's swap your hands in the front, so that this one comes over, and that's exactly right. Now make some space between your knee and your tummy so if you pull back, that's it, so pull back here, that's the one, all right. So, now we're picking up that light, just making sure there's no light leaks. Stay there, all right, everything works with this, except for how uncomfortable Nicola is. Go back up, so, beauty is pain. I'll be fast. (laughing) (Nicola speaks off mic) Well if you fall off, just try to wait 'til we stop shooting so that you know, people... (laughing) No, people don't laugh at you and put you on YouTube. (both laughing) Okay, both hands up and over, making sure the hands are down away from the camera a little wee bit there. That's a girl. Bring your chin all the way around to me here. I like this a lot. So, caving in right through your mid, that's a girl, now relax, those eyes to me Nic, good girl, ooh I like that. So beautiful, okay. I know what it is that I like, and you can actually sit flat on your bum. Because yeah, okay, it's this. I want you to yes, okay, now pull your elbows into you, both sides, that's the one, and stay there. I guess it's a variation of the turn, but what I can see, is the long line of her torso. Bring your chin towards me, towards the edge of the shoulder good girl, don't move, now a little soften those eyes for me Nic, that's it, wow. That is just so beautiful. Look, okay. From there, that's the one, nice and low, good girl, that's gorgeous, incredible. All right, I'm loving this color. Let's get you flat on your bum with your feet over the edge. In fact, since we're going to do that, let's go the other way. So, I'd like to have another distinctive, the side of the face is always different. Turn your body away from me, that's it, now the elbow has a bend in it, stop, other one does the same, perfect, don't move. Okay, long chin towards me and down, now you can see I'm low, I'm below Nic's eye line. I want a tiny little smile here. I want to get a little bit closer because I don't want to repeat the same shot that I got on the other side and let's go this way. Chin down, just going to refocus. That's incredible, good girl, love that. (camera shutter clicking) Right, from here, I just want to try something on that back wall so let's stand up and see what light we can get there. I want you, no, that's fine, so I want you to just kick out, lots of body, whichever side that you feel the most comfortable. That's the one, stay there, exactly right, long chin towards me, and we're here. Now remember when people go back against the wall like this okay chin up, lips together, tiny little wee smile on the lips, don't move, I just need to come up here. (camera shutter clicking) Wow Nicola. Chin up, a little bit more smile in the mouth, that's it that's it, don't go down with your chin though keep it up that's a girl stay there. Soften those eyes for me. I'm coming in close so you can see my crops coming in. Wow that's beautiful, lift your chin up half an inch, just give me that little wee, you got it! Don't come back up. So when you smile you instantly go (laughing) All right, from over there, chin up, tiny smirk, don't move, ah, go back up, don't move, there, soften those little eyes for me, perfect perfect. Now from here, you're kicking out lots, now that's it, stay there stay there, chin towards me, stop. (camera shutter clicking) Big smile, go. Good girl! You just did it. Don't move. What I want you to do, is I want you to go forward, forward, but bring you to that's it, right there, now I want that, big smile go, good girl, okay. Look. (laughing) Wow. Aren't you perfect, so we went, little rotation, there, little seating rotation, getting that nice body line, straight back to the back wall. We showed off the dress, it's all about the beautiful face. I love all the tones of that image, perfect. Your next outfit is black, long black dress, black corset. You go that way and I'll get Sally in, but before I get Sally in, I need to change to the powder blue because I feel like I want to change it out. But before I do, I might just have a look at the pink, and see if it's going to suit. So Sally come around. I just want to see, because when I first saw this outfit, I saw the blue in it, but now that I'm seeing this pink, you've got pink tones in your makeup, and the nude, and the pink, is picking out really beautifully, so, let's have a look and if I don't think, if I think it's too pink, I'm going to take you to the blue because now that I, oh no, it's perfect. Okay, I'm definitely going to stay with this. I think it's amazing. All right, so we want to show off your body line, because I think this is absolutely gorgeous. Let's have a look at that, I'm going to bring that in, I'll bring that in here, all right. Let's get nice big hair in the front. Perfect, I love that jewelry, gorgeous. You've got very obedient hair Sally. (both women laugh) Okay from here, I just want you to find your body line, good girl, so when you could do that, yeah that's the one, how about you go long chin, I'm going to shoot this quite low. Bring your chin around to me now, stop, come back half way. Don't move, all right, there. All right, nice and low, putting some space around her in my crop. How about you hold with your right hand, just beads there, just to bring your hand into frame, and I'm going to come around this way. That's a girl. I want, oh I love that shape. Absolutely perfect, don't move. Love it. Got that, now let's do this beautiful big smile, right? There you go. Okay from here, let's use this wall. So step towards me a little bit more. That's it come into the light. Come into the light. (laughing) I want you to stay exactly right, same position, just pull away from the wall just a touch and drop your hands down, lower, that's it. And then, go, checking here, stay eyes down. I like that. I'm just going to come around, ooh, watch that light. I'm just going to come around on the ever so slightly so I can shoot. If I shoot straight down a wall, I'm going to show you, I'm going to get this. So if I come around here, to this angle, I'm just going to shoot back this way, so I want to do two things, now, Sally, your back hand, I want it to go flat onto your thigh and down lower, into the outside. That's it. Now, what I want you to do is put your lips together a little wee bit and now relax them again but not so open, that's the one, and we'll take the same shot again, oh sorry, and I got you blinking again! (laughing) It was my fault. So when I look and compare those two shots, when I get the arm forward, I definitely like that shape more. Now, let's see if we can shape the front, the body, so bring it 'round, yeah actually, stay there okay, bring this elbow towards me, halfway back, stop, okay, don't move. If I shoot this from the top of Sally's head, long neck up Sal, and bring your chin forward and down. If I shoot it from the top of her head, down to here, have a look at this body line, this is amazing. We've done lots of closeup shots of Sally today, so we've done lots of cover girls, so I want to really work this body line. If I bring the chin down on the 45 towards the shoulder and I get her to drop her eyes straight down, I kind of say to people, it's like, I always often, I know and it sounds terrible, I say look down your own body line, in other words, look down towards your bum. Now what you don't want people to do is go look that and look, you want people to look down towards their bum, and they're trying to get that towards the camera, and then eyes down. Then I can come right in, and I love, stay looking down, I really love this. So there's something in here that's so beautiful, and you just have to find it, and it's always right there, and if you feel like you're too close, just come back, it's all good. I like that too. Eyes to me Sal, okay. So when I took, when I first saw this outfit, I was quite happy for it to go on the blue, but now we're in the pink, I think it's so pretty. Okay, let's move. How about we move, front on to the camera, and then come across a little bit more. How about we go hands on to the waist, okay, kicking out this way. I'm going to come down on the asymmetrical, so I'll straighten it up for you. Just bring your head directly forward now, and tuck in that's a girl, don't move, and don't pin your shoulders back Sal, that's it. I can always tell when those shoulders are back, and I'm shooting it to her right hand side so a little bit off there. (camera shutter clicking) Just going to bring more hair up and in, yeah. Now, one of my all-time favorite shots would be on that barstool so I'm going to bring in the barstool and the apple box. Wowza, look at that! (both women laughing) Right, so stay there Sally, I'm going to bring in the barstool and I want you to sit there and then I'm going to get the apple box which, I call it an apple box because it's just a small little box, good for one foot. Come here, I want to shape the body just in this seat, so I'm going to use that knee. I want this hand to hang down. I want maybe this hand to come up. So let's bring it up to the shoulder. Stay there, maybe just out here, 'cause I want to see that ring. That's it right now, sitting nice and tall, bring your chin forward, and down, don't move. All right, I'm not really seeing her legs, but when people sit down, you get the opportunity to move their body in a way that you wouldn't normally get so from this position here, I like this here. I'm going to go right to the edge of that background and I'm just going to shoot that there. Chin down, a little bit lips together Sal. That's it, don't move. Okay from there, it's very similar to you standing, but I actually think it's better from here. Right up onto your toe, so pointing that front toe, and always pointing the toes makes the legs look long, chin that goes this way, that's it. This hand, can we bring it up to the outside, that's it, and now tuck your elbow back, that's it, and that, you can't do standing. SO, let's have a look at this. I like that. That's beautiful, from here, chin comes back around. Actually you know what, I don't like that. So, let's change it. As soon as I see something I don't like, I don't want to keep shooting it. Bring your chin forward. I don't like it on the horizontal, I'm here, and I don't like it there either. Okay, sort of like it. Let's put this hand down, onto your thigh. Slide it towards me, and maybe your elbow back. That's it, straight up and down all right here I am in this position here, chin up half an inch. And if I can't make this shot better, I need to get rid of the seat, because I can't, there's no point doing more of a shot hoping it's going to get better. If I put somebody in a position and I don't feel it, I need to move on, and it's really really important when you're not getting it, that you stop and just take control of the shot straight away. I know what it is that I want. I need to switch out this box here, so I'm going to take that, I'm going to put it back, and I'm going back to what I had before. (Sally speaks off mic) No that's all right, Sal, just stay there. Hugh's going to have to cut this out. All right. I'm going to bring this one in and I'm going to get her foot up towards me. Because when I can bring her no just one hon. When I bring one foot up, and I can then shape her body, so bring that knee across Sal and bring your elbows forward. All right now the reason we do this is we're looking for symmetry. We're looking for asymmetry and we're looking for shape, so this one can go through here, and that's it, and then this one leans forward a little wee bit, all right. Here we go, now I like this. Long chin towards me and down. I'm going to shoot this nice and low. And, chin around to me Sal so follow me this way, that's it, don't move, now that I love. I can tell I love it as soon as I took it, as soon as she sat there, I wanted to engage her body. Also, I felt like the last pose was too much like a standing pose, so we want to mix it up, now I just want to open up her hair just to get something completely different. Now have a look at something that subtle, someone walking up and pulling the hair out. Look at this. Okay, long chin there, stay there, chin forward, look up at the back of the neck and chin forward and down. That's it keep coming forward good girl, come forward and down a bit more, stop, there it is. (camera shutter clicking) Chin down a little bit more Sal, that's it, there it is. Soon as you see that face engage, look at the difference between those two shots, chin up a little bit, chin forward, big difference. Okay from here, let's bring that elbow up and just come into here and now, very gently, just touch under your earring, that's it, bring your hand stop bring your chin this way, don't move, open it up a bit, your chin this way sorry, halfway down, don't move. Make people move their chin around until you see the shape of the face that you love. Open your hand up a bit, that's it, now very gently go down into it, stop. Now your hand's too like a cup. I want you to just go back with that, don't move. I might just sit your earring out, 'cause it looks so gorgeous, there it is. Good girl. Wow, chin down a bit more Sal. (camera shutter clicking) And now, when I say not yet, just comb your hair out just an inch or so, and do a slight tip, don't lift your chin up but slight tip towards that hand go. Big smile. (camera shutter clicking) Big big smile, okay. (camera shutter clicking) Let's stretch your arms out a little bit more, that's the one all right, now, chin forward and down, that's it and now beautiful big smile, go. (camera shutter clicking) Love that. Perfect and there you go, love it. All right, next sequence. I would like you to hop into your black dress with your black hat and we are going to go to the black background, same corner, V-flat, bringing in the white boxes. Now, we're going to really vogue it up. I love this, it's absolutely incredible. So we've mixed up Nicola's corset with one of my wardrobe dresses and I like that she brings something that's her own and something from mine and I have to get the movement of this so let's have a look at something where we can move. I want you to turn, and let's have a little practice, turn this side and follow with your shoulder, that's a girl, and then turn back this way and look down, but don't look too far, don't throw your head back, that's exactly right, good girl, that's perfect, now do it again, so it's a slow movement, but lots of movement and remember to keep your elbows in so don't wing out, yeah, don't do that. A lot of people do that and I want you to keep it there. That's it, now what you're doing right now, I'm going to put some space above your head so I'm going to shoot sort of nice wide and lips together, little smile, and remember, keep working that shoulder, good girl, move again, (camera shutter clicking) and again, now remember, I want you to look down, I want you to smile, look down look down look down, that's it, now a little faster movement, bit more flick in the skirt, stop. Okay, right now, love that. All right so for me, stop, that's it, perfect now don't move Nic, I just want you to flip the dress up in the front, that's it, so give it a like a flick, swish, that's it, and again, okay now, give me a turn again, that was beautiful, okay I want that again with a big smile, do that again, oh that was it, that was it, wow, look at that! Okay, so come back again, one more time, okay do that with other side, big smile, go. Okay look up at me this time, all the way around stop. Remember, don't through your head back, so, shoulder forward, that's it chin forward, that's it love that, (camera shutter clicking) Love it, stay there, now, what I want to (sighs) Wow. (laughing) Okay, and again, come back to here, stop, I'm just going to take this side. Okay and right there, put your chin right to the edge, good girl, and this way, nice, drop that shoulder down an inch, stop, bring it forward again but just not so high, that's the one, stay there, nice. Can I just have this pic, hands into your hair, like lift it right out, that's it, eyes down big smile, that's it good girl, okay. Sitting up nice and tall, just bring your elbows in here so hold the skirt, bunch it up, that's it, stay there. Now turn back to me, square, this elbow comes in, that's the one, long neck chin and push forward. Don't turn your face away from me so tip that way, halfway okay, forward, down, soft eyes for me there, good girl, look chin up now, little wee smile, gotcha. Beautiful big smile go. Okay, now, let's just do one where you shimmy forward and just give me a huge big smile go, love it, go back up and slowly forward this time, big smile, shimmy shimmy shimmy, that's it, gorgeous, stay there, I love that. Push your chin forward, good girl, you got it right there. Done, perfect, I love that dress. All right, let's do your fuchsia dress last. Okay. So what I'm gonna do is, point your toes, hands on the inside, elbows in, nice and tight, that's it, little closer, good girl, and pull in your boobs back through this bit, so your posture goes back through there, not too much, drop your shoulders down, long chin up, and then chin towards me and down, that's the one, love this, so I'm cropping this top of the hat just to where her hand is there slightly assymetrically pushing your chin forward Sal, that's it, don't move, do that again, lift up half an inch stop love that, good girl. This is beautiful. I feel like it leaves quite a big space there. I'm going to come in chin towards me and down and then what I'm going to do is bring this knee up so why don't we try that one. Heel on, perfect, okay. I love that. If you were going to go across with this one, I just need you to slide maybe through, there you go, but don't hold your foot, hold your ankle. That's the one stay there. That's beautiful, don't move. And from here let's try coming up a little higher and see what angle we get here so have a look at the difference between one and two here just by lifting myself up. I'm really low here. I'm going to come right up to her eye line but I'm not going too high. I feel like the hat could come a little wider, I could get a little more hair through here. I tried to pin it, it's got oh, a mind of its own. So I'll just try and find a groove with the hat and then when we get that, we're away. All right how about we hug over that knee, that's it. Don't move Sally that's perfect. Long chin towards me and then stay there. (camera shutter clicking) So chin towards me and down a touch, good girl, and I'm going to come higher. I like this angle better, chin up half an inch, good girl. (camera shutter clicking) Pulling back, chin towards me a little more. (camera shutter clicking) And now, I love that, good, stay there, one more. How about we go, I want you to bring your heel down the front of the box. Stay there, can you hold that? Yeah. Okay. What if you leaned over, yeah, but I don't want your hands crossed, I want them side on yeah, now bring your elbow together a little bit more. Now can this hand go down, how about, hmm, go down a little bit more on that heel and it's like a Pilates workout now, through the core. (both women laugh) Okay lifting up nice and tall, chin towards me and chin this way so, now come back down this way, stop. Let's try here, ooh I like that. (camera shutter clicking) Okay, from here Sal, just take the hat off. Just pass it to me. Okay, and just pull your hair up on either side, just that's the one, love that. Okay, now come forward again. I'm just going to get the top of your hair. Okay, come forward onto that knee. Come... Yeah, no, I like that, yeah but how about we bring one hand up? That's it so, just around your throat, that's it. Just more heel palm, keep that in, straighten your head up to me there and let's have a look here. Okay, I just want the body on this side so make sure you're sitting up a little taller, that's it, and then just bring your elbow down, that's it, don't move, long chin towards me there you go. And down just a touch, love that. All right, how about you just let this hand come out, elbow in, touching that arm, go into your hairline and just pull out a little bit, elbow touching that arm, that's it. Come closer to your face, to me, now just sort of comb through, there, pull away now, okay go lips together. Work this shoulder in to me, okay it looks like you're talking on the phone, so I need you lower and towards me more, away from your face and then comb out this way. That's it stay there, don't move. Too much hair, just pull back, good girl. Here it is, work that shoulder, and the front, chin down, stay there, like that, okay, take this out of your hair and let's, yeah, that's the one, okay, eyes down, shoulder forward back where it was. That's it stay there. (camera shutter clicking) Okay and now, eyes to me. Beautiful big smile, go. (camera shutter clicking) Okay, from there, let's stand up and put the hat back on. I just want you to go back towards the black backdrop there okay, that's the one, try and get that up a little, that's perfect, see if we can leave it there. All right, go back a little wee bit more and I just want the shape here, I want that shape where this one goes down, that's it, you're long, okay now just let this hand come in a little wee bit that's it, okay and I'll just want to stop it from being too floppy on the sides. Oh look at that that hat is behaving right now, don't move, okay. (Sally laughs) Now, don't push up through here, push out through there that's a girl, this elbow goes around a little wee bit more that's it stay there, and I'm at 3/4, so bring your chin towards me now Sal and come down the front, stop. (camera shutter clicking) And again, chin this way stop, that's it, don't move all right relax your mouth Sal, just so it opens ever so slightly, that's it good girl that's perfect. And drop this shoulder down a little wee bit, kicking out that way, that's it stay there. Okay, that bottom lip, you've got it. Now from here, just come into the side, sort of maybe one hand here on the hat, yeah, one hand over the top, so maybe just sort of let it sit up on top of the hat, this one, that's it and so just want you in here, maybe elbow out, that's it, let's see if I can close shot in here that's not too armpit. No, it's a bit too armpitty. Let's do this, huge big smile go. Okay eyes down, big smile go. Okay, eyes down, stay down, big smile, yeah that's the one, keep theh shape in your body this way, Oh I like that, yup. (camera shutter clicking) Okay, and then last one, let's just put that hat up, so spin it up on both sides, let's see if I can, that's the one, see, let go of her, see if it stays there, (laughing) okay one more, ooh, (laughing) you see, I can't make it stay there when I don't want it to. Oh watch, there's a pin in the front. Leave that there, don't poke your finger, okay, hm, no, okay don't move, 'cause I like what it's doing now anyway. How about from, don't move, that's it. This elbow back on this side, 'round your body, good girl. Push your chin towards me. This one's all about expression, Sal, drop your chin down a touch. That's it good girl. Let your mouth open a tiny tickle, that's it. Small eyes, smiley eyes, down that's the one, relax your mouth, chin up half an inch, there it is, got it. (camera shutter clicking) And let's want one more here. Really kick this hip out work your body, come around the body, that's it stop, chin up half an inch, and I love that, perfect! (camera shutter clicking) For you my dear, I want you in the corset with the big skirt. Last sequence, bringing the brown backdrop down and last outfit for both girls. What I want to do here, is yeah, stay there. I'm going to do a little rotation. I just want to see the rotation first with the corset and the dress, so if you let me just push your chin forward, Sal that's it and down a touch, that's it so at the moment I'm cropping in quite close, sorry, this is you and me, okay, relax. You want that to go chin up half an inch stop too far, that's it stay there. I'm just going to come in and do a quick little one two. I love that right, now, very gently, just come this way, stop, not too far, and just hold the dress, that's it. Perfect, so, maybe in the front more like that, so I can get the elbow, I can get the shape, long chin towards me there. Now I'm just going to move around you instead of you moving around me. You just follow me with your chin, that's a girl. Now chin this way, over your shoulder. Now push your shoulder away from me more, so I want you this way, that's it stop and why not just open a little bit more here up there, so chin toward your shoulder at the edge, down stop, and then follow, okay stay, yeah, stay looking down. (camera shutter clicking) And now go eyes to me, that's it stay down. (camera shutter clicking) Okay, I'm just gonna get that there, perfect. Okay, and that box, chin around to me now Sal, that's it, stay there, okay push your shoulder away from me even more, stop, okay, so when I do a rotation like that, I want to move, she wants to move, I want to try and do the rotation with a bit of vertical, a bit of horizontal, I want to mix it up there, and once I've got that, once I feel like I've got that, I'm going to get her to move, so what I want you to do is let's have a little practice. I just want you to tilt this way, that's it, and then this way, okay, lots of swirl, and looking down, that's the one, okay, there you go, keep going, (camera shutter clicking) okay and let's do that huge big smile looking down. That's the one, so I'm going to get it on the crossover so I can get lots of shape working that shoulder, good girl, keep some space between your chin and your shoulder, don't lean back too far, keep your elbows in. That's the one, big laugh laugh laugh, laugh that's it, perfect, okay from here, now what I'm going to do is let's just do quite a long shot sort of more cover girl, elbows back, that's it sitting up nice and tall so your neck and shoulders chin forward and down, that's the one. Stay there, drop your shoulders down and your hands come up a little higher Sally, no I don't like that. Let's try instead holding the skirt, using our elbows this way, that's the one, now drop your shoulders down okay, and I'm just going to sit a little lower, long chin towards me and down, there it is, don't move, drop those shoulders right down for me, that's it, push your chin towards me and down, down, stop, there it is yeah. (camera shutter clicking) Now, I just want you to give me a swirl looking at me this way, that's it, so and instead of pushing forward, I want you to flick up with the dress at the back, (Sally speaks off mic) so, well let's try yes, yes, the behind flick, so turn halfway, stay faced to me, that's a girl, and flick up at the back go. Other way, other way yup. Like that? Yeah. Back, don't turn away from me so much, that's it. (camera shutter clicking) Don't hide in your hair, I'm just getting too much hair hide that's it, okay, let's try, if I go straight back, just do, stand in the front, hold your hands down. That's the one now, elbows into your body, drop your shoulders, and have your hands like down and that, that's the one, and then push your chin towards me here and down. (camera shutter clicking) Love that. All right, from here turn side on to me, stop, 45. There that's it, I love that. Right there. (camera shutter clicking) All right, long chin towards me Sal, push it. Nice and traditional but I love it. Okay, how about I move so you come and stand back toward the curtain more, let's see if we can shoot you right on this curtain line, see what that looks like. Let me see if I'm here. Turn towards me. Elbows in now, that's it. And pushing your chin forward and down, good girl, through there, wowza. Elbows in a little bit, shoulders, that's it, you can pick the skirt up if it makes it easier. That's the one, I love that, Sally, don't move. I'm coming closer, stay there, that bottom lip just, that's it, all through the eyes, good girl that was it. Wow look at that. (laughing) Okay, stand there and maybe just give me a turn here, so give me a turn and that's it, and one more, again, look down, big smile. (camera shutter clicking) And the reason I just did a rapid fire then, rapid fire meaning I think I took about 15 shots, was I just wanted to see if I could get her on the fly, and ironically, the first one is my favorite. (Sally laughs) So, let's just do one more little sequence. It's the only time I ever shoot multiple images fast. So, just come away from the curtain a tick there, that's it, okay, and I'm going to get you to slow turn, flick, and lots of smiling, that's it, look down and then look up. (camera shutter clicking) Three four, five, six, look down, smile, that's it, I got it, there it is, right there. That's what I wanted. (Sally gasps and laughs) Yeah so, that there is perfect, that's about the movement, so it was just about getting a quick fire turn, just to see if I could capture that movement and we got it so that's done, beautiful. Thank you. And you've made this yourself. Yes. (laughing) She made that corset herself. Thank you so much, okay. Push your chin towards me Sal, one more time, okay. What I feel like, I just want to take you out of the backlight and put you back into this alcove, 'cause I feel like the light's bouncing in here really well. Okay, don't move your hands, 'cause I love the way you're holding that dress, so just turn your chin back to me, that's it stay there and now let me see what we're getting here. So the light's quite silhouette, oh I'm just a little bit over so I'm at 400 shutter speed, 2.8000 ISO, the light is more silhouetted than sort of backlit, so I just want to try and get this dress on the silhouette, so let's try and do some movement here, try and stay within, try not to move your feet, do that again what you just did then, with the dress where you just scoot around. Don't come up too high. Okay. You can come up high that's it, so let's go, let's try and move around, look down, and let's do look down big smile, good girl, that's perfect do that again. That's it stay there, let's have a look. Okay, I'm loving this light now. It's kind of crazy afternoon light so let's just keep moving and see what we get here. Okay do a full turn around for me there, and nope. When I full turn, turn away, and then start to come back slowly. (Sally laughs) But no, still flick back and forth, just don't go all the way around 'cause it's too far. Okay, I'm just going to pull out of frame because I need to get as much of this as I can. Okay, stay there, and one more turn, slow. And I need more dress flicking and more laughing. (laughing) I need more dress flicking, more laughing. All right, as you can see, what I'm showing you here is how rapidly I just fired through that. So what I don't want is just to, I don't want to just keep shooting it. I want to get wow shots, so if I look at the movement that's working, and I just do this, and then I do a slower turn, and then I do a turn look down and laugh, then it's when the dress is in full movement that I really love it, so I'm just going to slow the movement down and then show, slow down her shutter. Looking at me now Sal, that's it, that's the one I wanted right there. Thank you, that was perfect, and a totally different look than the backlight, which I like 'cause it's more gold, look at this. It's more... Oh my God I love it. I know, it's sitting here. I love love love love. Look at that, and there's with the full movement, comes up. I love that one. Yeah, isn't that amazing? And it's got lots of flow. So, much better than the backlight, just something a little different. Okay Nic I want to bring you into the same sequence. I just want lots of this alcove and let's see if I can get some movement in your pink frills. See, you've got, when you walk, oh look at that. Okay, so let's see if we can't, stay within here though. Sort of yeah, exactly, exactly like you did with the black. When you do that, when it comes up high like that on the back side, do that again, other way, that's it on that back arm, now, when you come up on the back arm, do that again but with your front shoulder so do that, I know it's a weird movement. You've got to come forward with your front arm, but see if we can get it to look natural, 'cause that went stiff as soon as you lifted your other arm up. That's right, now let's hold on to the skirt and let's put a bend on this front elbow, so do that again, any movement, but now with that front shoulder, go, okay move both, so let's just do a flow, a movement, and flick it up at the back so when you come around, that's it, and also beautiful big smile. You have got a killer smile, so really big smile. Okay stop. I want you to actually turn into it, and then go back this way, that's it, now turn all the way around, that's it and turn all the way around, cross over, that's it and go, good girl slow down, that's the one and again with that shoulder but I need it slow but flick, okay, and go. (camera shutter clicking) (camera shutter clicking) (camera shutter clicking) And again, that's the one. Let's have a look what I'm getting. Okay, I want the pink, all right, so I can't get a really good movement. I'm going to slow you right down. Let's bring you forward a little wee bit, stop that's it, don't move. Right, lots of shape into your body here, and let this elbow go behind you. Okay what am I getting there. This I love. (camera shutter clicking) Okay little smile here, beautiful big grin, go. Okay, let's do this with a flick, so stay there, pull it back and I just want you to flick around, that's it, huge big smile go, do it again. I love that okay, flick it out instead of in, so bring it in first and then go out, big smile go, no in first, and then go, flick it out, so start here and then when I say, flick it out. That's it, try that with the front shoulder, go. (camera shutter clicking) That was beautiful. Come in to this light and we'll see if I can't get this backlight. Push back, that's it, maybe let this go out, so lean into it a little bit more, that's it. Lots of shape, back come in, oh I like this, long chin towards me, (camera shutter clicking) and one more. (camera shutter clicking) Stay there, oh I like this, okay lots of lean back, good girl, chin up a little touch, chin this way a little bit more stop, good girl, that's perfect. Okay, now, see, I prefer the pink in the backlight so let's just try a little bit of a double spin, side to side here, okay away you go, and again, move all the way, good girl, look down, look down and smile, that's the one. Oh I like that, wait wait wait, oh that's good, okay soft hands, all the way around, elbows in and again, (camera shutter clicking) that was perfect stay there, and again, love that. (camera shutter clicking) Okay, all the way around. (camera shutter clicking) Perfect perfect okay just stay here and looking long, chin elbows in a little bit at the back that's it, now do that again when you were there, no you did the shoulder it was perfect don't move. Okay, stay there. Oh this is beautiful. Okay stay there, push your chin towards me Nic. Soft eyes, look at me there, don't move, don't move. Oh, don't move don't move, it was so beautiful okay stay there, okay elbows back, chin forward, chin forward, and down, (camera shutter clicking) oh I like that, lips together, little smile, beautiful big smile, shoulder in, that's gorgeous. Okay chin up just a touch, push towards me, and beautiful big smile there, I got ya. Too easy. (laughing) Perfect and that concludes our shoot today.

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

Reviews

Claude Bossel
 

Based in Switzerland, I am an advertising/commercial photographer since 20 years and I am still learning everyday. I have bought several courses on Creativelive, all are great and inspiring. This one is also fantastic, thanks to Sue and her incredible experience and wisdom, you will improve your personality, your attitude and skills that will bear many fruits in your business and personal life. I highly recommend anyone who loves photography or dream to become a full time pro to invest in courses like this one. Thank you Sue, thank you all from Creativelive.