28 Days of Portrait Photography

 

28 Days of Portrait Photography

 

Lesson Info

Photo Critiques Images 11 through 27

all right so chin shoulder hands hourglass body language okay I get the mood of this image I would have done anything to see an image of this girl's face to me she's this is not a portrait she is lifting up his sleeve I get that the tach which is what I teach but if you're going to touch and be whimsical it would rather you have touched like this and just touch the shoulder and looked away so remember I have to really eye lines I have straight to the camera and then I have down my own body lying so I want to look at my own body because that's a six year body language that to me is I'm looking at my I'm I'm adjusting my bra strap so I get how beautifully this was shot and I get the mood of the shoot and I would have loved to have just seen her touching her shoulder in either looking away or looking straight at the camera yeah opportunity here you put in one critique you could've put in any others from the shooting I would have loved it because you've really nailed the backlight you've n...

ow that exposure and I think that's beautiful but I'm not connected to this girl this is not what I call a portrait of a girl this is a moment and it doesn't look like a moment that's candid it looked more like you know to me and more functional moment alright slide number twelve ok love this connection roll big rule breaker here chin's perfect chin's a connected isaac connected expression is connected and I'm like yes it is way blowing out through the highlights but not on the screen but on the screen so I have to be careful of that might be a screen thing here um needs to be inside of his arm remember rule number one boys go on the outside girls go on the inside boys go on the outside girls going we have the inside spohn ladies the inside spoon look smaller than the outside spoon the inside spoon tax in the outside spoon critics you know put his arms on the outside who's slipping if her hands had have slipped in she would have been ableto work her body language and his shoulder so you lose points on shoulder you lose points on body language and unfortunately because it changes the way if she had an almond side and wit to show tomorrow and she was smiling it in this way then it would have been more particular than gorgeous so close I bet you they bought it great connection I have not once in the last twelve slides pulled up anybody on connection yet so you know that's a big thing for may but get these arms on the inside it is very natural for a man to grab a woman naturally and put his arms around her waist but she must come in the inside of his arms chin perfect shoulder we don't need it a symmetry is in this image the asymmetry off this cover girl shot is in the cropping and composition so that's why the shoulder doesn't work forward whoever did this has been listening to may hourglass excellent you could have given her a little bit more on this side on who lifts side giving me a little bit more light in there and photoshopped to really accentuate it weighs we wanted to look hot hot heart body language is perfect it's got beautiful connection through the eyes good connection expression composition is great photo shop is perfect here and make up I really love and yeah I have to give that a five gratified that such a basic strong sellable every day image of my studio well down chin perfect shoulder hands and the hands in the image hourglass yes your elbows are on the inside of her body okay just watch this it is very natural for lean bodies when they bring the abbas in to bring me a shoulder cave in ok so win her shoulders cave in she needs to push him out and she needs to make a bigger jin come here for a minute I'll show you this is a classic example I could look at rufus thing you slide him around this way so that your front onto that camera so bring your elbows down and cross them over like this girl hairs closer with the abbot see what's happened is her elbows air here in here so just push pull your cheese back that that certainly the elbows forward that's it now bring your shoulders and nice and caved and like no in see she's in there and so in the camera whose shoulders a caved in and that makes her to narrow down the side it's a very common problem with alina body push it out jean so square up the shoulders and push them out they could just push him out like that and also if you want to see this side to side you can move that side to side there and there and it's not so this just on this image this right shoulder is just too tapped in up here and it looks awkward okay other than that that flower to may interesting placement I would've pushed the flour back and pulled here here back a little bit thanks jim I would have pulled it back a little bit more it's very dominant it's taking me away from her face I am not sure on this image of the sharpness of the eyes and you're gonna lose some big points if you're not giving me sharp eyes expression is excellent watch your highlights I think it works on the screen not too much on the screen what your highlights and just to make I get her hands this way okay her hands tucked in here and that's why whose shoulders up if you bring that elbow out a little bit more you won't have that tight then you won't close up that diamond too much very very important chin yes shoulder no because it's not applicable hence not applicable hourglass body language asymmetry tw no so there's no asymmetry in this shot this is what I call the passport photo okay it's not a fashion crop you've got the top of the head and you've got mid to college taj so I really want to highlight this jin coming from an inbred that big frame on your way this is really really important to me so actually can't nikki can you bring me at the next frame down this one's too big uh new studio um I really need to show you this this here is we're this crop ear's okay it's got him mid frame there and there so it's showing the top of the hear that tape crop a passport photograph okay this is a magazine shop there and they're so it's just a simple drop in your composition but as I pull away I simply pull away and I pull away and go down just a touch more so I look at it like this crop number one is the top of the here line two about just above what I call nipple line okay when you pull back you go to the top of the here to just below the boobs then you go top of the here to the hips and then you go top of the head to mid thigh okay one two three four it is when you go in there it's when you go one two three four but as I pull away keeping the top of the heap crop you don't have to crop into the here line just balance it with the bottom of the image so what this is missing is that balance so if this image is beautiful she's a beautiful girl and if ahead of being dropped down lower a little bit more even like in the face and get rid of that dark bag under her eye that is not an eye bag that is a shadow we don't remove bags we removed the shadows under our bags which stopped us seeing our bags nobody buys a double chin a muffin top or dark circles under the eyes we spend our days trying to get rid of those things not buying portrait with those things on them we are women removed the bags removed the double chin removed the muffin top okay chin shoulder hands hourglass body language connection I was so drawn to this image when I saw it loaded on a full page as she's a beautiful girl and I was instantly drawn to it the makeup for may it sits on a little bit of a borderline of too much makeup but if that's what my client requested then I wouldn't change that because I'm shooting for them not me be very careful on the shoulder and elbow pin with lene girls because the elbow pin looks good but just watch the shoulder pen doesn't go back too far so to explain their remember when we fled to the body from the front we pull out alba's in and back just make sure you're not pinning the shoulders back so the difference between I have a curvy body so when I bring my elbows in my elbows come into here I'm so if you see if you see jean do it and she puts her hands up and pulls his elbows back if he pulls his shoulders back too far she's going to go too narrow so if you shoot it from the front she's going to be too narrow and here and I don't want her to be there so I want to pull the albums back without dropping the shoulder so do it like this put your hands out like they're on the platform lower and now just pull your elbows to the back like somebody is holding them together here and then you drop the shoulders forward and as soon as you drop the shoulders forward they stay out albert's go and then you can relax these hands down and shoot it there so just don't pin those out shoulders back although thanks although I will say this image here one of my all time favorites I love the asymmetry flowers outstanding here is beautiful good connection a little over photo shopped in the face but just a little bit I'm sitting right on the border for me yeah just watch were no photoshopping the faith again small electronic image would need to see it on high res before I made that exact decision but well done chin shoulder hands hourglass body language connection asymmetry composition he and makeup focus expression there's a five out of five for may I can't fault that it's a beautiful image to sellable image this is the sort of image people come to my studio for this is sort of image they've walked out of my studio for the last twelve years earning you know it's framed it's beautiful it's on the wall it's timeless five out of five love it okay we've got a before and after face before and after so you've got chin shoulder hands hourglass body language connection they are anything I'm going to fault in both of those images is the lighting to the face isn't flat enough so we've got too much shadow and lining on the face remember I'm all for rembrandt lighting and contouring the face with light but beauty imagery is not about contouring life beauty imagery is about a flat beauty dish style light which is her before shot is extreme or flattering with a flat light than her after sir I feel like this just a little bit too much contouring on their face although the pose her body line her body language and her expression and the crop in composition of excellent so to me those shadows and dark lines have put too much too much deeper than her face and I think they're pulling away from just locking into those eyes when you have the flat beauty dish style line you really are drawn to the eyes because that's the one part of the face that you're really taken with when you have shadows on the face like this you're pulled away from the eyes and expression so it's really really important you're coming back to the eyes every single time chin know that chin sitting too high and it's turned away from the camera okay so from the front she's here and her chin is too far this way okay so we don't look past the camera if I was talking to you I would be talking to you here but I wouldn't be like hey how's it going watch out too because it's not a believable body language too may bring the face square back to the camera with the shoulder forward so he's turned her chin towards his shoulder instead of her shoulder towards his chin so you bring the face back to the camera he bring your chin forward her hands perfect because they look natural that's how she would have set down it looks like she's naturally doing that very had to do to have network hands so we've got chin shoulders tuned away shoulders pushed back shoulder needs to come forward chin needs to come back to the camera engage the expression I like her relax expression but because her face is turned away that is not an expression that looks engaged to me had she come back to here then she could have locked into the camera their work to shoulder forward and then you would have now expression and body language and shoulder three easy critics in one movement so remember working that shoulder forward it's well exposed and everything about it is pretty who here makeup is outstanding it's a good shot it just could have bean a great shot he's a really big difference between a shot at a client will buy in a shot that will go in your folio I want you to stop pushing through making sure you've got polio shots but I really want to make sure that you're nailing nailing that connection so that your client buys your photographs really really important before you said I want to let you know how much people are enjoying this online arc photo said oh my goodness this is like being back in high school at all state choir tryouts so excited these were great images in here people are just going crazy awesome and you know what this is what it's all about this is about you guys putting it out there and showing the world too many people say to me oh it's easy figure because you're super rise you know I didn't become super ice overnight it took me years and nobody was there to critique me and when they did they never gave me constructive criticism I always felt like I was being brutally criticized or I wasn't being helped in any way and you know the cool thing about this is this is a genre that I've been shooting my lifetime these little tweaks make the difference between a good shot in an outstanding shot and if you can learn these chips and go over them over and over again and stop making these basic mistakes just keep coming back and practicing so that you're sitting this in your mind then you're creating this great imagery every every every every every week and your clients are buying them and everybody's happy okay chin shoda the chin is ford and down I love the hand I love everything I am not a fan of looking down shots if I looked down I'm going to look down the body I would have loved to have seen her face but I get it it's a beautiful shot I don't know where that house sellable that is because I've never been a big seller of looking away shots it's not an eye line that I like but you've known everything else the chin the shoulder the hands the hourglass it looks like and I'm going to be really honest that you've used a portrait software on the face and I hate smoothing self around the face I feel like the cheek has a bruise on it and the bag under the eye has been softened but not removed I definitely look at her breasts but I looked at her face in her face and flour first so I'm not drawn down that line so it's a good composition it's a good shape but I would really have loved to have seen a little bit better retouching to the face I'm noticing a lot of the retouching to the face is not up to power from may but I have a very high standard of retouching to the face because I know what women don't like about their faces and what they don't like about their body so let's focus on getting you some more photo shop videos I think in the next months because I think that would be really really important so just because I'm not a fan of the looking down shot I think you know everything else just watched that over further shopping to the face try and use a clone stamp if you can it's much more even okay the chin is forward and it's defined show that she's acting not looking in the camera she's looking just above it I think it looks like she is the direction of her eyes definitely got some movement maybe the lift eyes gotta highlight in it that's why it looks like it's floating but it's not um shoulder hands hourglass body language connection you know this is a really basic image it could it has far too much blush I am a big big big pull back on the blusher remember it is a light dusting of pink to the cheeks this to me looks like a very heavy pink cheeks however I will say if my client said I'm not I want more blusher to the cheeks I would give that client that if that's how she wears that jin come here I'm just going to show you a basic role that we talk about and one of them is is this is the diamond it stats at the top of the heat it goes to the outside of the shoulder down to the mid way out to the shoulder this is the diamond we never cross the diamond mckay said this here is here and here and we don't cross the diamond okay so body language wise she's blocking her heart and if she's blocking her heart she's that is a protective pose we only ever cover our hearts when we're protecting ourselves you know if she was going to open this diamond she would be here and there okay so just open up the diamond do not shut it down okay and we hug ourselves okay it's about touching the body and then you can even push the booty back which is what you've done you can push the beauty backwards don't hunch your shoulders down and just talk him down and then you just hug yourself but no crossing the diamond this wrong we need to even bring it up and over and we never even cross the hat a case of big rule don't cover the diamond accentuate the diamond always this is the part we want this is where a woman's beautiful is thank you nikki okay we've got a chin yes we do we've got a shoulder yes we do because she's kirby so we drop the shoulders forward we've got hands well placed a ll be really careful of two things one of them is when we flew it we touch parts of our body that we want people to look at so when we do we touch our here okay we touch our body we've got all these lines we touch her to college taj out to our shoulder these airil touch points in a photograph okay we never touch your belly okay you wouldn't walk up to a guy in a bar and go hi how you doing all right we don't write about bali we don't rebel breaths we don't touch embrace and we don't talk to your belly so just watch when this hand does come here that it's here or up under here not down here soon as you put hands on the belly you look down at the belly you will look in an image wherever their hands are so if the hands of touching belly a bris you will look at belly and breasts that only works if the opportunity shot and they're touching the tummy and you want them to look there okay so no hands on belly if they did come up fine but remember at the end of the day the arms folded poses are either this looks a little bit too corporate for me okay so I wanted to either hug her body like this or I want her hands behind and down accentuating her back line but other than that good tip ford working the shoulder body is forty five degrees lower half is away from the camera which is slimming said that is excellent and I because she was happy with it even though her hand is just popping out on her belly there question from tough total sue is there a reason wardrobe isn't listed as one of the points for critiquing and people have been asking about wardrobe how important is it and you're not really critiquing any of the wardrobe so I'm just kind of wondering I have no control over what a client brings into a shoot ok no matter how much I educate them they will turn up on the day with some of the craziest staff and I have to work on the fly with what I've got I don't supply award drive as you know although I have a coup truman and I think it's really really important that we do not judge a client's clothes because if they turn up with three black tops I have to try and create twenty sellable images with three black tops so my goal is to just take what I've got with with what I've got and you do not know what these clients tuned out with so absolutely pointless critiquing wardrobe to me what I bring to my chute will be my wardrobe yeah chin showed at hands hourglass body language connection um not a big fan of the looking away shot it to me if that girl was looking in the camera it would have just absolutely nailed the shop for me um obviously this is artificially lit which is not my thing but to me it's lit beautifully it's very sort of fifties bama I love who here love him makeup it's well exposed in its sharp the shoulder is working which is wonderful the crop could have come back just to hubris line if you had pulled back to her nipple line you would have seen the shape of her breasts coming down to the bottom of the image which would have made that really highly feminine she's obviously got a beautiful body line she's wearing a type top so it's a little bit high cropped in high on the bass line for may I would've brought it down to the top of the head or just pull back a little bit to show her bus line everything about that is perfect but to me I'm just going to say the looking away shot to me has never been a big seller because I find women don't tend to buy images that you know looking away and they tend to buy images where they're more engaged so to me I feel like she's like this you know which to me is that sort of in between it's not connected she has a beautiful face and I would have loved to have seen here either looking down her body so she's connected to her own body language or looking directly at the camera okay chin shoulder hands hourglass body language connection you know this image has been edited really beautifully but it's been edited towards yellow and saying to match again I get that when you eat it something on your computer and then you seem to then um it can shift but so I will pull it up on its yellow nous because people don't buy yellow skin images I tend to go towards the science not yellow when I go toward science and my editing it pulls the readout of the skin which makes it look more beauty and fashion who shoulders a perfectly placed to china's forward her expression is differently engaged I love we've taken the crop to the top of the head to just below the bus line which is number two in the composition what judges showed you I love the asymmetry shot just to the right so the only thing I'm really gonna pull up in this is the color correcting on it and again I don't know how accurate that is but well done all right chin excellent shoulder perfect curve excellent hipster dropped away she's got a great body line she's forty five to the camera here and make up is good all of that's well done it doesn't look very sharp in the eyes but that could be my screen well executed good girl on showing diamonds and triangles remember it's all about diamonds and triangles we want to create diamonds and triangles and images because it makes image more interesting and it opens up the body and it slams it down I love white on white I always shoot blondes wide on white so well done differently a sellable image okay absolutely love this a really good shot at one point two or one point I'd say nice drop away a little bit too much breasts a little bit too much to college tire's gone if you'd pulled back or just drop down one and she would have this would be a teen ala teen for me this is an outstanding shop it's a beautiful connected shot love the catch like perfect here movement nice and sharp just bring it down remember don't to the passport crop no nick cropping show the bust lines show the beginning of the bustline even to the nipple line trust me it just balances and image and it's just stops him from being a floating here so absolutely love that for every other reason beautiful okay from here I've got uh chin is ford and down shoulder is definitely working just try with your sideways poses to tune this hand this way if you can the only way you can do it is take them to the each of the ottoman so nikki come here eh so what I'm gonna do is I'm gonna sit niki down and just show you something so if you sit down on the floor and everybody's natural reaction is to do exactly what nikki just did and that's to lean her entire body up against the cheer because it's that everybody does now put your elbow on the edge of the tear yeah and pointed inwards that's it that's it so the hand now goes away from the camera now push your booty away from the cheer so that your reclining and now there's a big space here okay as soon as you get that space which is what the school's doing she's leaning but then she can turn this hand in but drop that hand down but she's here like this and inching her elbows back here which shortens the forearm and then gives that front hands so just watch hands and that hand on the back slide it up nikki and alba goes around the body as soon as the elbow tux around her body she has got the hourglass it's all about that hourglass not that leading on now luckily this girl's really lean so you can still see her waistline but if she was any trivia you really need to pull that hand back thanks nicky but other than that really good shot what bothers me about the shot it's a it's a full shot of a girl but it's not a good shot of his face meaning I'm not drawn up into her eyes the lighting again it's very contrast e flatten it down soften it up for more beauty style images and just really draw that I into the face in fact other than that elbow being attacked in it's a great image in its scoring high I would just like to have finished this image myself because I would've just even through that tone and just really popped that light on the face because I'm getting a really dark cheek down here but a light one up here so I can't I shouldn't really come in on that contrast because it's going to make a difference

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