28 Days of Portrait Photography

 

28 Days of Portrait Photography

 

Lesson Info

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

today's video is about the other half of the rules this is about creating an hourglass it's about creating body language always looking for a symmetry and it's about always getting connection through the eyes this tying in the body posing making me believe poses with beautiful body language takes you out opposing people you are no longer posing people you are directing them tio give me riel beautiful poses and body language that I believe immediately in my images what we're going to talk about now is the hourglass the most desired shape on a woman's body is the hourglass and I'm gonna teach you how to pose to get the hourglass so when you have a really lean frame with no boobs and no hips when they're very very lean we want to give them shape we want to give them boobs in booty so all the posers work exactly the same with curves in with lene bodies there's only one slight difference and that is the angle with which you're shooting it so when we have a curvy body we want to pull the boo...

ty back from the frame and when we have a lena buddy we want to push it forward and bring the camera lower so livia is eye line or slightly above by an inch lena is lower lower usually about sort of collarbone height camera two camera tomorrow so you can go lower when you've got alina body but always trying to do is create shape in the body there's actually only one way to move the hips out in the body from standing up and that is if you come up onto one toe so I'll move that you can see our feet we want to come up onto our toe cross and me over and when we cross on the over we now can move this shape here either way and it's just a lot easier to move then we fromthe side on when we turn this way we bring our right foot up and we kick back this way so we create shape always and women lying down in the ottoman position we bring the knee up which kicks the booty out so we're always trying to create a shape so whether you're lean and you want to push the booty out or whether you're curvy and you want to push the waste in we do that by moving this shape so from front on you bring the foot up you cross the knee over and then we can use our hands here in here to shape our body just like they do on the recap it now very important is that we don't have our shoulders in an uncomfortable position but we have them down relaxed hands and then we use our chin forward and down and we're using lots of extension in the hips now I think sometimes when people see this pose they think that they're in a fully extended position and then we make them extend them even further because the more shape we could get the better it looks also it tapers the waist in I find two that when you push the hips out everybody tuck sich and so you really need to reset the chin and shoulders and another thing that I noticed with people is that they they team to tip like a t part so if your hands down by your sides one hand up this one can go around shape around the body kick out your body this way you don't want to drop down like this okay you want to try and close that space in the hip and shoulder there so always I'm trying to shape the body in the most feminine way that I can slimming curves in curving lean bodies is best I can to make that shape work so there's a few little tricks like that they're starting at the feet so I just want to show you a couple off just great little moves that really help accentuate the body I'll show you a few mistakes people are making by going to the hourglass in the leaning forward too far so that you're losing your angles in your perspective on the chin in the face in the ability to move the showers it is simply a sideways movement so when the tow comes up in across the hip goes out to the side a lot of people are doing this in tuning away from the frame to try and kick their bottom out it that doesn't work either so I'll take you through the rights and wrongs now with the hourglass we just really want to create the most feminine line that we can so let's see what it does let's try some good and then then you can practice this one okay so let's have a look at some hourglass posing here push your chin towards me tiffany and I want you to come up onto your right toe and then put it near cross and mexico the other side is there a way that year I can see you go lower on that hit than you do on the right so that's a really good moved here this hand here I want youto hug the hit line a little lower and albert back perfect now this one here I want you to come up so for now I'm starting to create some shape in her body bring your chin back to the camera this way stop in pushing towards me and I'm gonna take a shot here I feel like the bottom half of her hips are projecting towards me a little bit too much so what I'm gonna do is push your booty away from me so that's it stop not too far but re engage the heat again so chin this way that's the one slight tip there that's it let me take a shot and we can see the difference just kicking her booty big leah made a significant difference to how it looks in the front but notice how I've lost the way shape I want you to bring this hand up and around into that curve of your waist and push it in good good because that gives me a lot to shape now I want you to push the bomb back a little bit more away from may uh and I don't ten to come back to the front just tip your bum bear google now bring your chin forward and down okay let's have a look at that now pushing into the waistline into the difference between those two poses so now let's go straight up and down and let's show if we've got our arms by our side and we push our chin forward then even when there's no fabric on the arms so it's no dress straight away big significant difference just having the arms two dimensional by the sides let's try taking the hands to the outside of the thighs let's try and bend the elbows around the back of the body straight away that now not your shoulders really important infect a cheap way to do this is to come out I call this bobby position pushed down with the palms of your hands and bend your elbows around your waist now as soon as hear arms come up around her waist that instantly slims here down let's take a look at that pushy chin forward and they instantly slims down because follows the line of the hourglass let's try and pin back a little higher that's it stop and now towards me stop now bring your chin down a little way but more that is absolutely perfect sorry I got that I just do that refocus and I got you there it is now a big difference between this and go back to your normal two dimensional so straightaway shaping the arms in the shape of the body work so if she was leaning on a chill it's just routine that you are and she was kicked out with this hip all I have to do is put their hand on the hip and slide up and go alba around the body see the difference put this hand lower be elected so go back out to the outside again slide up and around the body now that's without even turning her hips away if I tune her hips away like that I can shape her hip anyway I want but what I'm trying to show you come up to upright is that when the arm follows the line of the body it looks so much slimmer from the front so when ever you seen went and particularly the bride you khun use her hands here as well this works so when you bring the hands into the veil you can hide those arms and then shape the hip hop this way everything we do is about shaping those hips now straight away you went out with hit and you look like you dominated forward with your lower body even though you didn't so I'm gonna push your booty back and as soon as I pushed the booty back always hand down you're just going to get constant slimming off the lower body so I am shooting tiffany directly on her eye line I don't want to shoot down on here like this hand go now let this him hang out okay so just sort of fled to don't hold it out to steer don't tip your head to me stay upright and even with their hands behind their hips like this so you khun change hips and just yet just show that movement even with their hands behind it's still showing that shape so now what I want you to do here is ten this way forty five degrees this way and I want you to hold your elbows and your boobs there I want youto kick out your lift knee and go back into your body this way okay now when she did that the first thing she did two things was she squeezed your arm against your body so we're going to make sure that the pressure comes off that and then the other one was she threw her head back the case is straightened you hit up to may and then bring your chin around this way now I don't want to turn her away from the camera I want to ten here back to the camera so I'm going to turn him this way now as soon as I tuned here this way I'm feel like this here is taking too much so I'm going to pull it back on his shoulder now what I don't want is that arm ford okay because I don't want this and I want that to be is close to up and down as I can so if this hand looks awkward we can put it on the inside so she can swap that to the inside but she's not toe hold her belly because we don't hold the belly and these were pregnant okay we never put their hands on our belly so the more upright this is the more she can work her shoulder in the front and then really this hip now if this hip is dominating towards the camera she can still kick bag but she just needs to pull it away from the camera or she can tilt forward is not a she doesn't tip forward which is really really important so let me have a look at how it's looking to the camera so I can take a still all right it's a lot to shape into the booty this way I'm just going to go lower and what I want you to do is put this hand across even more sort this one tiff cross that did not come back so it's almost straight up and down stop right now drop that shoulder down and bring your chin forward all right there now coming back to the front I just want you to go back into cover girl okay I lift this up and this is a mistake I see a lot of people making long chin forward she looks like she's dominating with her lower body but she's not so I'm just gonna tip her booty back so just let one knee relax and just kick your bum back to the wall good girl long chin forward now what I don't want you to do so that looks really good but I don't want you to do is actually lean forward so lean forward and shoot down on them not that far yet people are coming in to hear more I know this doesn't look right and I can tell because I can see the top of the hips coming through the outside of the hands so it's about being upright it's about bringing your chin ford and your bum back but without tipping so it's such a subtle movement and from the side I'm going to show it from side is tuned this way look that way I want you to bring your chin forward first and then your bum back so it's not about her leaning back it's just about her being on a tilt and that tilt makes a huge difference to come back to the front tip and I'm going to take a still of it I want you teo just push your chin towards may I like that but she's looking bottom dominant and that shot and I feel like when you look at this shot that you look down at her hips now when she kicks her hips back and hitch in forward on dh now a little bit off to the side drop those shoulders down then I feel like now her focus is all on her face because we're taking the body out of frame and it makes a big difference so showing hourglass making sure you're using those feet to position the knee to position the hip lots of movement and just be aware that when people often kick their hip out they took the chin in so they'll often come up into this position they tip the head to the side which you don't want so you want them to come straight with me here and then look straight and you want them to just kick out they lean forward too much which happens a lot they lean that and the auto tune they help out this way this is a really common one and that does not look good so from the front it's just a sideways movement that way sideways movement that way in a slight kick out back square to the front of the camera and that looks beautiful let's talk about asymmetry uh really important for me is I'm always shooting on asymmetry when I go back to eighties glamour I thought all the posters were very symmetrical mckay hands in the same position always very similar in exactly all of those moves as we've progressed into more of a fashion style off glamour photography we have definitely started to mix up the asymmetry so for me I shoot in at an asymmetrical composition I'm going to show you that first and then I'm always looking at an asymmetrical body language so I always think the only time that I'm even symmetrical now is when I'm doing the cava girl pose but I shoot it off center so today I want you to practice your asymmetry I want you to shoot slightly off center so it looks more magazine also really important I know I've said this a lot and I'm going to say it a lot too I want you to shoot just below her eye line so the camera is sitting right about there get your not shooting down you're not shooting up and you know shooting side to side your client is fled to the camera and if their body moves their face still stay split to that camera I want you to stay on their angle because the angle is really important then we push the chin forward and then we look for a symmetry so for me asymmetry is just about having the body doing two different things on either side if this hand is here on the side so you come up with this one then this one is around the hit out that way now if I put two hands out like this like a little teapot it doesn't make sense I like the beacon hip one up one down if I put to you if I am symmetrical here doing cover girl so back to the center when I've got two hands here then and I'm shooting a little bit off center as you always say we don't that's okay it's the only time I'm symmetrical but when I moved I want to change it out so I also practice movement like this if this hand comes up to the shoulder and sweeps across then yeah then this one can go to the bottom of the bra and then I can move this one to the here straight up and then I can move this one to the waist straight down I'm always trying to get one up one down and remember to move these shoulders so make these shoulders work in your body language so that you can just but we're not tuning the body away from the camera so asymmetry is about saying this hand is here and then this hand is slightly higher it's about having one hand on the heart and then the other one's slightly higher it's just not straight straight straight so I'm going to take you through a few asymmetry poses with tiffany after I first show you some asymmetrical compositions that I fled to the backdrop once we now these then us shooting pure magazine so all you have to do the honors direct here to look like a magazine model and there is what we here for his portrait photographers as women you know when you read those magazines I want to look like that this is about angles shaping contouring the body using your camera angle to make her look like a supermodel and it is really really easy to let go just bring your chin up to me and cover gil here I'm going to show you what not to do fierce and that would be shooting it right down the center and then I'm going to show you where I want you to crop it to see my eye line is directly on here eye line so now I'm going to step a little bit closer and I'm gonna move to the right a little bit and I'm going to go down because I'm going to shoot it a nice low fashion angle and then that's where I want to be there just gonna open up might have stalled a little bit more and then take down there I met two point eight and I want to show you this slight asymmetry now I don't want to go to close down here and cut her arms away I would rather pull back slightly and just get the top of the hands so I'm making sure that I'd just get a beautiful side angle and if I'm going to go right into the face I make sure your eyes aren't into frame I make sure there that is more magazine to mae that is a lot closer to what I see every day in fishing making things like we claim we just check that okay now because the camera is metering teo I it's telling me that there's lots of black and this image because everybody to inflect this's right now just chin up to me beautiful big smile go that's a real action mouth again what you just did the intake perfect so have a look at all these images this is where I like to shoot this is really magazine for mei and if we look through these images now you'll notice one consistent thing and that is I'm always slightly asymmetrical now exactly the same rule applies when I tuned the camera horizontal I'm not going to put her in the center of my frame okay I'm going to keep here right slightly just after the right hands down now elbows back so put your hands flat palm spec chin up to me so I want her face to be square to make notes to straighten out almost that google so really fled and then long chin assuming she flattened out I can see the different so actually that was probably the best example that you could show me did it again what you were just doing them before I noticed that you were off I noticed through camera that she wasn't square to the camera so I have a look at this and then I told her to straighten out so she came flat down on two feet and pulled her elbows and they look at the difference in this composition and shot slightly to the right this is more fashion than the other one the other one you can see she's tipping off and it just doesn't work I always want to be fled here now remember because tiff has a heart shaped face I want lots of beautiful buffy magazine beautiful styling supermodel here I want you to have the longest chin pushing forward but not down to me because she doesn't need to slim down the bottom of her face all I needed to just get that killer expression her eye there it is in a little bit more on him out we'll make that even better and I'm pulling backwards not side to side so always cropping on the asymmetry now I'm going to go back to the tri part and I'm going to show you some asymmetrical poses that are based on one up one down so today you need to practice looking through the camera flat model flat background flecked composition slightly lower real magazine and here's another one moving here in the frame like that you could move your feet as well but not moving her face so lifting your shoulder up good girl stop don't tip your head back so no don't so bring that's it stay there her face is exactly still square to the front of the camera and I love that if you have a look at this line now remember what we talked this morning when we went forward okay and then you took in your shoulder away from me that way a little bit more but if your face stays long chin to the end of the shoulder to come around nice and square she still not symmetrical so her body is turned to the side but her face is don't wrigley to me and that is a beautiful shot from here get mixed up too far come back that's a girl if they go too far on it till it looks like a dole's here to give me more shoulder so tuned more shoulder away from me this way good girl stop lot now tip in halfway that way don't move them over halfway beck you just went too fast stop and it's right there okay from there I'm going to go back to the tripod and I'm going to chez asymmetrical posing so coming back to the start so what I'm gonna try and do now is have a look at some asymmetrical posers how about we just go into here tiffany's just gonna marry may that's exactly right beautiful nice pull into the waste just turn your body towards me ever so slightly perfect and I want you to just sweep you to college taj here so I could take shape tell that this I I often do this I love this line on the outside of the shoulder the airlift her chin up to me pushing forward with your chin let it stay there dying come towards me though so pull back there just your chin for there to see it now if I don't think that that looks good I'm going to go straight into here and tried this movement here so this hand goes into the bottom of the bra and then I'm going teo put this one straight down okay so I'm going to try a whole lot of different things this one here I'm going to bring to the bottom of the brown and this is probably very close too symmetrical pose when I bring both hands up here like hands on the heart now of course I would shoot that in an asymmetry crop so I'm going to try and remember if she turns this way and intend to face back there then that hand comes forward to come back to square again and this time I want you to tend this hand up tio here for mae and put it up on behind the head that's it and then I want this one here says real boudoir style that's it and I would crop to the top of the head just so I don't get the top of that hand in the frame long tend towards me perfect beautiful supermodel face good girl that's exactly right now from here I can lead this hand up here and even come up to something like this so in here but it's gotta make sense I can't do it because of my microphone so you just push it that's it now if she comes forward I just don't want her to tip to let spring this hand down and straighten you hear that to may and I want you to tip towards me this albert comes into the scene tough it's so from here now hand goes around your throat okay that works for me and I love the shape in the body so when she kicked on a hip then and she got there beautiful shape just not talking on the fire too nice and low around the throat chin out nice and long reelection mouth that's beautiful okay now what I do is in this moment I try and freestyle a little bit I know that every single person moves differently if you move over or come and stand beside you I just have to be careful of my microphone here otherwise it makes a noise but what I'm trying to do is I'm trying to see how she moves and so what I'll do is I'll get her to start doing simple movements and then I think that looks really good but the idea is that every time her hand comes up or her hand comes down they're going in different directions and so I try and teach photographers had opposed by doing simple moves like this I get them to practice from cava girl and then I get them to sweep across the dick allah taj I get them to run their hands down their body I get them to find different shapes with these shoulders I get them to cross over this way and this way so you can do this simple move here it's where I'm just going up and down and then I'm making my knee bend but I don't want to lose the face so I'm always bringing the face back to the camera line and then I do the touch at the bottom of the brand and I do both hands I sweep out to the shoulders I tried both I try one hand up one hand down I try one on one hand on the shoulder I just mix up different ways to move the body and I just try them because everybody is really good at moving one way or another now what is the most important thing that you have to achieve here is body language okay I want to believe this pose come back into the centre I'll show you a classic example of what people do when they pose though often bring somebody in and they'll say put your hand on your waist and put your hand behind your head and I end up with people literally like this and I think to myself okay that is not oppose it a wooden post and then they tell them to kick a hip out and I get this sort of variation where I see people kind of moving very awkwardly so what I want to say is bring that hand up onto the waist and let the wrist hold that waste now I can see that push it in ford right there I can see that that is comfortable on that wrist on wrist on the hip now don't just put your hand behind your head grab a bunch of here that's it that is body language to me now lift your chin up to may open this hand up a little weed but so it's not all four I'm coming halfway bring your chin this way it's a open up halfway with that arm stop keep this one out and I just want the chin to come up now see when I start to believe here I want to see her expression met her posted it this hand just relax on the top and then launch an op to may and then halfway down straighten you get out of that stuff okay now as I see her come in with your expression drop that bottom that really relax it mouth chin up just slightly now I believe that pose now now that becomes more about body language for me than anything else and I think that that is really important exactly the same when I am looking for these poses here when I dropped the hands down I'm shooting symmetrically so sorry I'm posing symmetrically I'm shooting on the asymmetry but it doesn't mean anything to me until she starts to work her body so the elbow comes back and I'm pushing her body the hip goes out and then the chin comes forward and as soon as I engaged that expression right there I know that I'm starting to believe her body language so the fluting positions like this where I tuned her body this way and then I get here to engage into her shoulder it's only I only believe it stated to me because I don't believe that and there is really important but I believe it when I watch your body language coming to play so how about we d'oh I want you to hold your elbows there I won't eat a tip forward I want you to bring this shoulder forward that's it now bring your channel the way around to meet this way now completely relax your mouth and give me a slight tip in so from this position here assume as I see her expression come in then I know that I believe that pose and that to me is about using body language to flirt so I'm going to come back in and just talking through one thing remember when we flipped way touch parts of their body that we want people to look at okay we touched you here we touch your throat we touch out of college taj we touched the outside of our shoulders and down our own body lines we never touch her belly in case I never at any time if I was footing with tiffany what I did would I be here like hey how you doing ok so we do not touch the belly the hands never go near the belly in any opposing we also never touch the breasts you just do not flute with somebody in touch your breasts in any way shape or form so the idea really is is that we're trying to create real body language and we want to do all these touchstones here so we want to be on the outside of their body so just touched the outside of your hips your arms your shoulders across unique you throw all of these work here okay so all around the outside and then try when one goes up and the other goes down try to keep that square to the camera working the hips and shoulders and pushing the chin forward to the camera at all times try to touch down on those points and make it work

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