28 Days of Portrait Photography


28 Days of Portrait Photography


Lesson Info

Photo Critiques Images 28 through 45

chin showed a hand's hourglass body language connection so if she's pregnant than that's a perfect shot with her a little love heart on the belly and if she's not pregnant you've done a terrible disservice because I've just called this girl pregnant in front of the world try and get the boy around her body a little bit more so jin come here really really important with the boys is that your body is really dominating so he's behind here like this with this shoulder poking out and if you had have turned here little wee bit there and head him step a little bit further here his body and shoulder is bigger and would have dominated and he would have looked more even and then he could have bought his expression around to hear this way instead of sitting up top on the top of the here like this he could have come round and engaged with here a little bit more so he could have kissed your cheek they could have kissed each other now as old nose to nose so bringing his body around a little bit more...

but other than that it works you know because you're a couple and thanks jen um haste looking his lips so he's holding his mouth shut so just watch expression because the girls really working it but he's not quite working at them so danny danny in the chat room said that photo's hers and yes she is pregnant oh good thank you because we don't put our hands in our belly and this we're pregnant so it's very common when you tell a guy to grab his girlfriend he'll do two things he'll often go up under her elbows and he'll put his arms up under here or he'll hold her tummy up under here and it's something that just looks instantly pregnant if they're not pregnant so remember to engage their hands hands go around and so if it's not pregnant very very important yes I like I like you in it and congratulations on being pregnant all right ten shoulder hands hourglass body language connection chin is working definitely your expression is perfect and it's beautifully edited I love the lighting I love the way it shot now I just want I could have taken this image this hand here so I'm going to merit this hand here outstanding this hand here is throwing okay so you've got two choices given assistant to throw and place your hands because this image would have been perfect if you had a place the hands and had somebody else story the fabric one of the most important things you're doing with throwing is throwing and trying to sit the body the expression any body language and one go so something always suffers it's either the hit goes back you lose the expression so they'll do this perfect body pose and their faces like this or one of their hands is in a throwing position one day I nailed this perfect shot of a girl space and she was just working it and then the next shot the arms and the skirt were perfect so he swapped it onto a bit of hand shot but I can please please just try getting somebody else to throw the image secondly she looks too thick through the waste and we don't want women to look like that that is a basic lesser right click free transform right click warp and pension that ways because she looks like pink and she looks really hard and the lighting is beautiful just that throwing arm in that waistline all right chin showed a hand's hourglass body language connection I don't like functional poses functional poses of very fashion but not very beauty there's a difference between being an affection typos you know and doing poses that are being ten leagues like looking like look I'm a fashion model I don't do that because to me it's not beauty no profession is awkward and asymmetrical and and look I'm a wife and I haven't eaten foot years and they were very like hungry looking and wistful but beauty is about beauty beauty is not about looking hungry beauty is about looking hungry andi it's about you know rocking that body I feel like she's holding her dress and she's got a broken nay I don't look at that and yet the shop itself so beautifully lit and you know I love their off camera flesh and I really love that nighttime shot also if I was talking to the school we were checking her out and going like hey look at her she wouldn't be standing in a bag on the twitchy so I always look at it like this if you're being looked at and the image is about you being looked it's about you doing something that is worth looking at not looking broken oh hungry we don't want broken or hungry I want engaged so I would have loved to seymour I bet you there are more shots here and saying that just because I don't shoot fashion doesn't mean you can't shoot that fashion style it's just never sold who did would look at that and go I'm not buying that katie you look like your legs broken everything else is amazing so okay chin shoulder hands hourglass body language and connection the only thing the shots missing a symmetry it's definitely down the middle it's also shot down I do like you to come lower I would love one of those elbows to be throw the asymmetry around the body so I would like if she was sitting I would like just one of her elbows to tuck in so jin come in and this is a really important thing for me when I'm looking for asymmetry in my composition just sit in the front there and I want you just to touch the couch on either side like that okay so this is something really really simple I want you to slightly move this way with your shoulder and no towards may that's it so that your shoulder cage is coming away from your hips and then bring this album around so slide back side decks like so just finding a little bit of asymmetry here so from the front I would work here buddy like I would work your body like this okay so I would find that group there where I'm pushing her chin and shoulder away just a little bit and I'm bringing that movement and he had just to find a little bit of symmetry the al both could have come back a little bit more sitting up nice and torch in forward and shoot a little bit lower but it's a beautiful shot thanks to you it's well exposed it's a good connection she's obviously wearing an almost bridal dress so whether you were doing a gram the dress or not I don't know but you know well down just watch asymmetry just try and get a little bit more movement in the body don't just make them work their expression make them work their pose I want to believe it I want to look at that girl and think that she really believes in that moment that she's beautiful that she feels beautiful that she looks confident that her body is rocking that she's connected to the camera and that I really believe what she's doing okay chin showed a hand hourglass body language connection this has got a great connection it's got a great expression what it hasn't got what it's got is it it's not cropped tightly enough or it's not pulled back enough it's sitting in the mid zone and the mid zone makes her look big because unfortunately her breath fill up that hole frame so what fills up the frame makes you look bigger and you can't see the shape of her body you would have been better to go in closer and straighten who hit up some making it really fashion or pulling back and just getting a little bit more shaping her body I like it here and make up and it's nice and shop it's nothing good through the eyes she's gotta relax mouth but who melted very sixty and her top is very pretty so just watch that you are mixing up the right beauty okay so I kind of look at it like this when they're wearing something sixteen my poses are definitely more sixty and more open mouth and maura sort of list smiley when they were in something pretty I make it more beauty and beauty is about a softer expression than a sixty expression it's more about the self that away smile in the eyes and that little expression in the mouth and I would have just either straighten who hit up and cropped it number one or I would have pulled back to a least number three and gone top of the head there to the hit because then I would have seen the movement in his shoulder which is where you got that asymmetry so you rocked the asymmetry in the post but not the asymmetry in the competition okay chin is not ford enough shoulder is not connected in the shark so if this is the side on passport shot so this the passport shot and then the society on passport shot so it doesn't show her body line whose shoulder line who'd akala taj or hubris line and her expression is not engaged because it just looks like a nervous look back to the camera this way okay so all you have to do is turn that face back to the camera pull back just a little bit drop down connect to shoulder and connect your expression to that camera okay so this is not lit very well in the sense that I can't see that catch light in her eye but I would really like to see a little bit more reflected light coming from the right hand side in tune here face away from the light I don't do the look back to the camera never at any time do a position somebody a forty five and get them to look backwards towards the camera here because if I was talking to you would just turn your face to the camera you would be here you know you wouldn't look back at me and talk like this because then you would look scared of mei yue would look back at me like that so you would turn your face toward wrigley to that camera and talked back to me this way you wouldn't just go like this and talk to me here you'd be right there so that to me is a disconnected body language is everyone still critiquing alongside being they absolutely are very exciting you know one of the cool things so that you're doing is going through the list every time you look at a photo and just keeping people understanding that they do need to touch on all those points for every single photo yeah so that's great that you're going tio and then I love that okay chin yes shoulders not applicable hands perfect you don't get hands in the here very well not many people could do hanson here without looking like a barbie doll so I'll do bobby doohan's it's when you tell people to put their hands and they're here and they make this awkward like look I got my hands on my here or this fun but this girl looks like she's really got a hand in here the only way you can stop people from doing awkward bobby hands here awkward bobby face hands is to make them actually hold the here and so like hold you here like do something with you here don't just put your hands up to you're here or tuna outside on like this because you get those awkward prizes where people then do this and it looks really wrong so lovett hands outstanding body language totally get it asymmetry not so much but you know this is the only time I would let you two in the face slightly away from the camera because she's smiling so whenever people smile they'll move just a little bit a smile is about this body language it's about when you do a bit of a laugh and you go and then you get all you go here so you either go up or you go slightly to the side or you drop straight down and you really laugh those are real laughs that means that she was really smiling she wasn't just going like this she was actually laughing with a slight movement that's the only time that movement looks good it's well exposed it's nice excellent expression good further sharp beautiful makeup beautiful overall well done excellent shot sure she was wrapped with it looks like the cover of a portfolio chin shoulder hands hourglass body language connection okay a few things with this one one of them is their arm that you can see the arm that you can't see is excellent you've got a good way shape really good line through there really good she's a cuba gil but you've shown who briefs line had to call a taj you're on a perfect crop number three top of the head to the belly button that this arm is not flattering at all it's still sitting out too far tack it in a little wee bit clean it up with social women will not buy images if they don't like the arms protect that back in here and makeup I'm actually going to drop this image for here and make up more than anything her expression is really really good and the connection is good it could have been a little bit more shot asymmetric place either left or right but who here and make up I think you're here just looked a little bit two did there or it just looks a little bit hard and also seeing a lot of bronzer I like spray tans but just watch the bronzing around the face keep it a little bit flatter and just try and work those elbows a little bit more and watch their asymmetry okay chin showed a hands um beautiful image beautifully shot image beautiful soft expression uh I like the hair on my couch if it was one of the or she turned up like that really good if my makeup I did that here I would have said no because it looks a little bit too bridesmaid e for me and tim's have been glamour but again I never know what she could be a bride she could be a pre glamour shoot it could be anything so I can't comment that much on here here outstanding expression you know I can see the shoulder could have bean in a little weed but more but it's an innocent face innocent look good hands good connection good for the shop good makeup good overall well then all right chin shoulder hands hourglass body language connection you know this is an image that I do all of the time this is an image that I really love this is an image that I sell all the time so this is being beautifully executed I want you to watch one thing nicky come here this is such an interesting shot two things happen here particularly with lena body sent you sit your butt that way and face that way okay put your hands there and there and bring your chin so one of the things that happens is when you work the shoulder forward ok two things happen can you bring your chin around as far as possible like that you've gotta watch everybody tips backwards which is what this girl's face is doing so this is where I stand in front of here and I go like this and I go tilt your here this way stop now bring your chin and shoulder together they go so that simple tilt changes the body language so significantly in the shot secondly if the hand is forward it makes the boob smaller in the back bigger nobody wants small boobs and a big back everybody wants a small back and big boobs okay so taking that line back taking this album back and just tipping that tilt that way and then connecting the shoulder makes that shot perfect so thank you nicky this shop here is beautifully sharp good connection I love the flower it's well lit it's in the back light I like how you've subdued the highlight I just would have seen a little tilt that way in a little albert that would've made that perfect all right chin shoulder hands hourglass body language connection what you've done here to slim her body is excellent good dropping off the shoulder but who he is too far down which means you're too high above here the whole point of tipping curbs down is that you don't need to shoot down onto them you took this shoulder down to open up their body through here all of my kids videos the ones that I sell on my website the ones I've done for twenty eight days everything I've done for creative life is about opening the space up here for cuvee gilles it's about dropping that front shoulder remember if that hand is coming into this frame so that little spider hand it's just popping in to frame swap it over to swap it out there and then it would have just been a top if you had lifted her chin up or shot the slower it would've been perfect so well done on the curves just remember if you pose here on the back of the shoulder she's kind of look wider in the bag if you bring that around a little bit more and different down she's going to look smaller in the back bigger in the bus which is what we all want and watch this bit of fabric here so this bit of fabric if it hangs down you can go and tuck it into the back of the pants or scared and you could just really slim down that back line waste if her body wass that wide and you couldn't send that down she should have had more weight on the back foot because you want to create space between the back of the body and the wall right everything imposing is about creating that space there and making a diamond in the bet then I can work and curve her body in and just create a bigger waistline other than that well them you can ask the question sure jennifer james says I photograph a lot of women over fifty if I photograph a curvy women over fifty from eye level oftentimes it makes the breast look even lower do I need to educate more on undergarments or do I need to change the camera height you know shooting down on breasts makes them look bigger especially if you're shooting on any of the city five mil or twenty four one five that has any wide on it because it's seen as the boobs hit their outer level off the lanes you know working on the beast power the leans it's gonna drop it down and make it look longer so I actually find dropping them onto their back foot and then pushing their chin forward and shooting just above the eye line is perfect so what I mean is don't drop down to low drop them back don't push their chin forward and just just above their eye line not looking up through the brow okay so they should be there not up the end so just that midline just just above the eyes but not down onto them okay great thank you any other questions you know there are other questions people are just really really enjoying this so marianne seven er had asked about getting involved with the makeup and you know for everyone that's watched twenty eight days we know how involved you are with hair and makeup but she asked to how involved you get and what if you don't like it do you actually intervene and I find it so hard to dio which I understand because it is hard to do especially you don't know what you're looking for this is where you got to put your big girl pants on your big boy pants on and you've got to talk to you makeup atmospheres and you've got to say this this is the guideline of makeup that I want this is not about you and this is not about me at the end of the day I'm shooting portraiture this is not a folio shoot so I do not control the hair and makeup what I want is I control how happy my client is and if my client is not happy I have to do something about that so what I do is I'll say to my makeup artists and I've just booked to make about us for tomorrow that I've never worked with and I said to her listen this is what's gonna happen when you go to the bathroom and wash your hands after you've done the hero maker I'm going to look at the client and I'm going to whisper to teo to her are you happy with your hair and makeup you happy because you're not going to be in the room and she's gonna feel more comfortable telling me if she's unhappy when you're not there when you come back into the room I'm going to look at you and I'm going to say cates not happy with you here she thinks it's too curly could you pull it down a little bit and you're going to go sure I can you're not going to sit there and cry about it and give me attitude because this is really important that kate walks into her shoot blown away because then I get paid and you get paid and that's just the way guys and so I say that I actually said that to her and she's like sweet not a problem you can change anything you want I don't have that problem and I thought great it's really important you take control before and you say I will change it I will ask the client if they're happy I'll do it when you're out of the room like it's a sneaky thing because sometimes they get too attached you and they don't want to say they're not happy and then after the shoot down though go I don't like my here and you'll be like things you should have told me before I photographed you and worked on your image is not afterwards really important really really important okay this pool photographer sitting there going what everything in the background you know could take ugo okay chin showed a hand's hourglass body language connection I am not a fan of the white shit I've seen it a million times and I say no to it because it does nothing for the body I know we have this fantasy of rolling around in a bed with loose curls and a fresh face and a white ship that white man shit the day after but let's face it never gonna happen but the truth is this is a highly requested shot for me this is a boob shot it's traditionally morbid wear I don't do it at all because I always look at women and say you know it you get a nice cleavage line but all you get is this bulky shit so what is it that you really want is that you want a heart body shot with gorgeous cleavage let's look at a low cut tight top dress that's going to really show up I team to go more towards that than the shirt when you lie down on your tummy and roll around the bid the chute just looks like a bulky sheet so it does nothing and you don't see cleavage but in terms of this being even something that I wouldn't do if you get asked to do the shot you've done it well you've shown the right amount of boob it's sixty it's cute I like the color up means I just got laid and here's fabulous makeup good good tip down the wall and you know good connection really to the arms across the body so you actually made a shot that I hate with better than I probably would have done it so well okay we're at number forty are you following along with mei chin showed a hand's hourglass body language connection you know this is a beautiful shot it really works I go right down the body line so to me that body line is morbid web and glamour but it is a shot that I do and I love it be careful with the hand being placed up there make sure it's holding here or touching the face but you've executed this beautifully beautiful girl beautiful sharp you know outstanding you can't really fault that same with this one I love this chin showed a hand's hourglass body language connection that arm looks too big the elbow looks bony at the wrist looks bony but I could have walked that in I would have walked the back of her hand and armand to take it out of the shot her eyes a dynamic it's beautifully shot nice and sharp well exposed good connection tiny little smile and the eyes could have done a little bit more but it's a sort of shocked that you would blow up and put in the studio without doubt and easily put in your folio so well done I would have just slimmed down there little wrist bone and just take in the back of the hand down just a tiny little bit just bring it in but good shot all right beautiful shot beautiful girl crop too high if you wanted to leave that space over here here I would have just bought it down there are online I know you've got more so show me more from the shoot I feel like this is a shot that I would get from my re toucher that I have now got to play with so I would drop a filter on this put a lax on it put a star sort of you know filter on this and just make it dreamy and outdoorsy I mean it's beautiful girl beautiful styling just watch the three flowers very stretched out scrunch more together and throw them in here you know don't just place them out there make it look like she was wearing them and it was flimsy and beautiful and and just watch the tip back again what I did with nikki when I settle down before was his shoulder came forward and everybody's natural reaction is to tip back here so it does look good in whimsical when you've got the whole body and you are tipping back but I always making sure I'm connecting the chin because connecting the chin is a bit of body language than throwing the heat back to here so watching that he'd go back but other than that it's gorgeous I just would like to see a little bit more photo shop on there just to make it great and you obviously had an opportunity to shoot in light and you're obviously and good light so why didn't you find the son clear tell me you found something on the shoot because if you turned that girl into the sunlight with that hat on you would have just nailed that shop you know the difference is that that's a really nice shot and if that was my daughter I'm sure I'd be happy to buy that grandma will buy it I'm grandma will buy the smiling one day it'll buy the smiling one as well but the truth is is that shot could have been all my god beautiful so just pushing it into the light or bringing up that contrast a little bit taking the contrast away a little bit on photo shop making a little bit more garden gnomes they would have been great chin shoulder hands hourglass body language connection unfortunately she's leaning forward instead of back so I would have pulled her hips away from the wall and pushed his shoulders back which would have pushed her belly forward which they would have pushed his shoulders back and her chin back down so she's just tipped the wrong way okay so she looked a little bit forward he v in this one but other than that I do a lot of glam shots like this of pregnant women and it's exactly the shot they want they want a beautiful shot where they hear makeup looks gorgeous and that they're touching the body beautiful hand placement well done well lit it's just the post it's just the post just the pope remember something whenever you're photographing somebody you always looking for the direction off the way the client is moving if way go from here and look back or if we've got our client leaning forward she may look like she's falling forward out of the frame but if she I mean this way and leaning back into the frame or holding her belly this way or this way then she would have been more in a recline and working his shoulder and it would have been way six year then pushed forward but other than that perfect okay chin I got time for one more you absolutely dio chin showed a hand's hourglass body language connection this is one of the hardest posters for me to teach it's one of the hardest poses for me to teach because people always do the pushback elbows forward which makes the arms look short and then it's very hard to engage both girls they forget to put one of the girls behind and then they put them side by side and then they can't get the cheeks together this is an outstanding example of exactly how I shoot this but where my ballet hands that's my jerry seinfeld where my bell intends why did you not give me back my head this is the sort of shot that makes me cry because it isn't good as it gets and then I looked out on this too little sideways hands going to this on the back of the camera I'm like turned them down give me some belly hands beautiful connection beautiful chin shoulders over the elbows lifted up tall connected to each other sharp well exposed good here and make up a good connection sisters fabulous bad hands well done though so this image is absolutely beautifully shot everybody's connected with hands baby is perfect you've executed this beautifully from twenty eight days I'm only going to pull up three things one of them is mom's legs I'm not separated and they could have slid back a little bit more so they look a little bit list in the front of the image in a bit more flattering so mom could have been just a little bit more feminine and leagues and dead should be sitting a little bit higher than mom because he needs to look bigger than mom okay he needs to look like the protector in the care of the families and makes you dead comes up just a touch more so his heated even an inch higher than moms it's not so much a level of authority but it's a little of protectiveness manliness a man will always lord over his family he will always particular family it's just a body language thing I love what the kids are doing and even though that needs on the right hand side can be a bit distracting but they're still cute she looks cute and beautifully done you've connected every single member of that family to each other and you've connected them all to me which makes me believe this shot and this family will treasure this image for as long as they all live wow what an amazing start to the day we do have a couple minutes can I ask a couple questions oh I can do more I know you can't but I know you can wade you have to take a break so miss lisa says how do you get a good connection with the client doing deer in the headlights even asked after you have asked for a smiling eyes or stop in the eyes okay so you just have to keep asking there is nothing else you can do nobody is deer in the headlights you know what if you're getting deer in the headlights drop your camera down and just talk to them and watch their expression soften and then say see what you're doing now that's what I want when I bring my camera up you go really dear and when I didn't bring my camera down you relax now if the expression is quite scary or hard and they don't soften at all when you're talking to them shoot them like that that's who they are they used to it so but if it's not if you're talking to them and they've got a natural expression and then you put your camera up and they ghost if you're the one in control of that I have put my camera down and shoots talk to someone about something random like tell me what you do lise there or you know I love that top where did you get it from and then the whole expression breaks and then I'm like stop see how you're looking at me right now stay like that and then I bring my camera up you just gotta work some people I have been in shoots where I will go and relax your eyes and relax your mouth and push your chin forward and relax your eyes and relax your mouth and put your chin forward every single shot one hundred shots frustrating but you are here to die rate you worthy to control all right let's do one final question couple people have asked this so tough tootle with regards to the five crops that you you know you're talking about the five crops what about actress head shots are young children is there ever a time that a crop is different for different demographic on an actor's headshot I still do the five crops because I think actors hitch up to quite a fashion magazine young kids I started the five crops the only time I wouldn't do it is in a corporate teacher so I will do those five crops top of the head top of the head the nipples top of the head to the belly button top of the head teo the hips and the top of the here to mid thigh with space at the top I will do those crops on every single shoot using my asymmetry left and right and using my asymmetry imposing to fill the frame great thanks for going over those again because people were asking for a recap on the five crops so that's what I'll do is I've got a great visual example of the five crops five crops that are posting on my block tomorrow in facebook at sea you can actually get a visual of the execs measurement of those crops I went to get them from opposing cards but I noticed in the printing of opposing cards they crop the top on the bottom a little bit because of the you know size dimension and so it's not the exact measurement of what I want you to do so I'll go and actually pull the images that I am cropped and I'll post all five images on my block so you can start working through those compositions

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!


1Teaching 2 Photographers in 28 Days
2First 2 Years: The Truth
3Rate Your Business
4Year One in Business
128 Challenges
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
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