Photo Critiques Images 47 through 67


28 Days of Portrait Photography


Lesson Info

Photo Critiques Images 47 through 67

right this current slide number forty seven were et chin shoulder hands hourglass body language and connection that this is a beautiful shot to me and I would have done anything to see this shot looking at the camera instead of looking away I would have done anything to see this shot looking down with a big laughing smile on body wise I think you've done beautifully you know she's a curvy girl she's got arms but it works for mei she's beautiful color I love how this print is executed I love all of the soft times the jewelry the dress everything works in this image I just I'm seeing a lot of looking away images and I want to see that connection I'm always looking for connection but you know I'm going to give this a high rating because overall it's just a beautiful image and it would sit very beautifully in a folio chin shoulder hands hourglass body language connection let's go through that chin is not its ford but it's not connected to the shoulder shoulder is not connected to the chin ...

there are no hands and the image sets it's not applicable hourglass essentially is if we had just popped down her back online so we just put an axe into a bath which would have given her a little bit more of an hourglass and that flat back straight down the back which is really really important body language is what happens when the chin and shoulder go together so at the moment she doesn't really have any body language she just looks like she's leaning forward and kind of looks a little ticked off okay so I want to see some body language in the body I want to see why is she leaning forward and is his shoulder working and is that booty popped out the back you know give it a little bit more body language you know she looks really young and it first you think maybe she isn't working her body because she's younger but then you see her tell her and she's not that young so you know she's a beautiful girl and and she's got a great body so she should be working at a little weed but more asymmetry is applicable in the sense that it's cropped to the lift connection is sort of the air I would have loved to have seen more body language focus is there expression not so much composition I would have just taken out whatever that is in the background that looks like a trash can and it distracts me a few had bought her chin to the front in whose shoulder forward this would've been a perfect composition so further shop no there's still too many lines on her neck and that trash can could have gone out of the background but here in makeup is excellent so close but not quite close enough working these images to give that need more I mean you got to do more than photograph a pretty girl leaning forward she's got to be a pretty girl that makes me believe in her pose it makes me believe what she's doing because I really want here to just bring their image together perfectly it's just gotta work okay chin shoulder hands hourglass body language connection one of the two things important about the shot is that arm it just does not work like that it just looks wrong okay look stamping it looks short and it looks cut off head that I'm being dead and the more you look at it the more wrong it looks head that I'm being down and she was just leaning it's the wall you will have fully pulled off this image one is this looks on photo shopped to me so that means I want you to pump your contrast a little bit more if you're having trouble doing this shot and pumping the contrast in the back light meaning your highlights of blowing out then I want you to either lay a mask and photoshopped brightened up the face and then lay a mask back on on twenty eight days you aren't because you have put this image in there is a photo shop section for twenty minutes just on reattaching the backlight so I want you to bring that face forward and then bring the highlights down that background so that's a photo shop issue her expression is kid hooch iness footing down but that I'm in the front and that right arm is hourglass ing so you've nailed that but what is that you wouldn't lean like this against a wall and have a conversation with someone it's not a sixty pose it's just making her arm look stumpy bring these arms down and list they need to be there and if I was going to bring her up I would have maybe leaned it against the wall and just hit the elbow touching with one hand like this in her here or one hand working this expression here touching her face all the way down would've worked okay so elbow instead of armpit and it looks like I'm smelling my armpits so just watch that okay I call this part of the breast examination and I have always called it that because I feel like that's what they teach you when you examine your own breath and to me it doesn't look like a body language it looks like a breast examination so a beautiful girl a beautifully lit shot and a beautiful outfit and to me it was ruined by that I don't believe what she's doing so I want to believe it okay and I just I feel like sometimes hands can be so difficult to pose because to me this shot is so incredible but when the elbow is that high so it could have been here when the elbow goes up and over in the hand comes to this breath it reminds me of how they teach you how to do a bris examination and all of the breast cancer pictures and I've always looked at this and scene photographers do it and I'm like why do they do that you know pulley arm away make it body language have it touching the bottom the dick allah taj have it touching the shoulder line I can't cross my ammo because I've got a mike fenner but don't have it sitting up in that sort of hook position just over the just maybe bring it down to here you know it would have looked better and just open this up a little bit everything else about the shot is killer I'd love to see the rest of it I mean absolutely amazing movement hourglass and body line just watch those hands I've got to believe them all right chin shoulder hands hourglass body language connection I love this shot it's beautifully styled here here and makeup is excellent you've got a good lean back a good tip forward and you win and put her hands on her belly okay so again maybe she's announcing her pregnancy and that's what it looks like to me and when you talk to somebody you would lean against the wall sure you would flit you would put your chin forward you would put your shoulder up but I don't think it any time you would bring your hand across and put your hands on your stomach it's not body language and it looks wrong if you take in the hands down you would have killed the shot absolutely now that and you know beautiful smile beautiful makeup so beautiful color coloring well done to put that golden with the pink works really nicely chin shoulder hands hourglass body language connection you know one thing that I want to say to people this is a very very attractive woman but she's not a young girl's not twenty and she's not pencil thin and she's not super model you know but she is clearly a client a real woman and this is the sort of woman that sells portrait's in my marketing so this shop to me is very quintessential ofwhat I would shoot and what I would sell it softly shot beautifully executed I'm the hand for me is a little bit fist in terms of it could have been a little bit more like this so maybe instead of holding the shirt she could have either been like that attacked into the ship or maybe sweeping across the deck allah taj or even just gently sort of twisted this way you know using belly hands however I can't really felt this image in the sense that if one of my photographers had shot it I know it's going to sell it's easily going to be a sixteen twenty on the wall she looks cute she looks sexy she looks young and well done you know I need you to understand this is not about winning fashion awards this is glamour portraiture and beauty portraiture for every day women this is what it's all about she look splendid here and makeup looks great and I think that's a really well executed portrait well done I'm chin shoulder hand hourglass body language connection it's hard shooting outdoor portrait's I know it is but there's no contrast in this image so we could have popped in a little bit more contrast it's looking down again it's neither on the body line you know I'm not the hero there I feel like this is almost close but not quite where I wanted to be a I would like to see that heat up there's a good tip in the front shoulder good forty five degrees on the lean which is good and if you're just a new photographer and you're learning and you're out there shooting natural like portrait outside because you don't have a studio I would like to see a little bit more sanitary or a little bit more dips because you've shot into light but you've also got light in the front as well so I just like to see a little bit more month in the contrast and making sure you've got lots of information just trying to understand the information around that here line so but you're close chin shoulder hands chin chin is ford shoulders working that's a really great connection hourglass not applicable hands not applicable body language yes the sinners the chin comes forward and meets the shoulder we have instant body language isometric oh well it's a symmetrical in the sense of connection over the crop linus because it's on a white background the connection is definitely there the focus is definitely there in the expression it's actually on sew her mouth push forward but she's actually got on with eyes which I like I think she bought the sharp composition it's pretty well done and tim's off bris line you've got more boob man you've got back which is means that elbow respect which is excellent and for the shop yeah you could have probably given it the six to settle a little bit more filtering but you know what this is pretty standard issue it's a good shot it's it's interesting when I look at images like this and the one before such simplicity is sometimes so perfect and I know what this girl shoot would have looked like and I bet you she bought this and would've been really happy with it and um you know I'm enjoying this side all right chin shoulder hands hourglass body language connection that's a beautiful image I'm really distracted by the chlor on watch the chlor remember because we get the fist the claw the fist in the chlorine the two things that I think stand up they could have been a little bit more of a ballet hand in there interestingly enough everybody does the same thing lying down and I might just quickly do this because I think it's a really significant pose jean come here I'm so twitch this fella round ups did I just upset the apple cart okay pushing around a bit more gene that's it stop okay come and lie down on your tummy so this is really interesting when I do this pose the first thing I do is I bring the body line so if you walk your albums over this side towards me and then bring your right knee up yep that's it so to me when I shoot this shot here I should it showing the waistline and then the lake hands out the side but keep your leg the gin and walk your elbows across just to the other side this is what a lot of people are doing so from the front the back carriage pops out of the shoulder so from the jeb can you go to the gym because that's the crop I want that means that they back leg pops out from the shoulder which doesn't work from the front because it means that the bet carriage just appears out of nowhere so you want to show the shoulder so walk your elbows this way and you worked this shoulder and not this one um and that's really important that you bring your camera angle around and you see the booty you see the knee come up and it's more of a lying down postmortem my back halves popping out of the back of my head because sometimes you see the thigh like it's a good west are shot in their in their underwear you see this guy just pops out of the back of the shoulder and that's because you've got the wrong shoulder sides and making sure you moving your shoulders ballet hands good expression though thank you and beautiful face beautiful here and make up and the connection the eyes outstanding so of course it's gonna win for me it's kind of win for your client but come on whoever shot this image now is bitter with those hands right this cloth underbid I see some claws on I want to see klaus okay mixed image to shoulder hands hourglass body language connection this is one of those images when I first put it up I'm really like all interested to look at it straightaway striking girl great lip color far to steer ian her expression okay scary it's scary expression and I want to self in those eyes and bring that mouth out but it's the eyes I want to soften its smile with your eyes smile with your eyes soften your eyes for me remember whatever your client's name is so if your client's name is kate I want you to just to lock them down relax chin forward kate eyes to me in real actual mouth kate I want you to give me a tiny little smile in your eyes and they might move this bear and then you say more more or and you keep saying more until they give you more so some people have micro movement but you've got to get it up there because this is such a gorgeous shot I love the asymmetry I love the color I even like the pose even though it's a little defensive and strong and this is the author of this image might say I was going for a strong shot she's a strong girl but come on it's a portrait she's one look pissed off so make sure she's giving me that connection through the eyes that's making me give that little twinkle of a smile that makes her look so god damn sixty and so knowing and beautiful that is connected through the eyes and you don't need to do anything else okay chin shoulder hands hourglass body language connection I'm I'm not a flesh girl so I'm going I will struggle I like the silhouette of this image beautifully posed image I would have loved to have seen her chin instead of looking out I would have loved to have seen it down her body line so she's enjoying her body her pregnant say she's enjoying the state of grace that she's in watch that highlight on that back wall because it's very strong and it's really dominating and I know you probably put her face towards the light to get the silhouette of that side of her face but there's a very strong shadow on the side of her face which is not flattering bring her face bring that light around put a reflector and if you had to just to pick up a highlight down through the bridge of the nose bring that face back engaged to the camera down that shoulder line makes all the difference oh I love this shot and the reason I love this shot as it's such a classic epic fail for me it's so beautiful good connection great hands what is that that she's holding isn't it isn't a deformed breast it's always amazes me when people put a knee up into an image in it just pops out of nowhere the hand must go on the knee over the need on top of the knee or stretch the need down you could have done this shot without that me and you would have nailed it it's such a great shot okay knees are sneaky and she's got skinny legs so her sneaking me this looks like she's kind of holding something really weird so I always look at it like this the knee should never come up into the diamond and the she's a young girl and you want to cover the diamond for an older woman she's got a beautiful brace line to college taj if you had have slid her foot forward towards the camera who need would've dropped down and then your hand would have been on top of the knee and that would have made more sense or she can go alba on me hands on me but you've nailed everything else about this image of now the connection watch you're not using too much image gnomic on the face because I can see the portrait I'm software looks like it's over down the face so if you haven't I'm sorry but that's what it looks like what you're not over retouching it's too soft and I want to see some sharpness but you nailed everything else well done it's kind of hard to explain the amount of retouching that needs to be done on the face I've seen people in chat rooms asking what is the what is the line but it is kind of a hard thing to describe what is too much what isn't enough it's not so much that I'm saying that they're over retouched because everybody has a level of retouching and I'm guilty of over retouching happy in my whole life andi I've been criticized for it you know so I know what that feels like the difference is I can tell when their views portrait software on the face now I a race portrait software back now I use it on the body but I do not use it on the heel line or the face because it softens it and it gives that masking look and I don't like it I wanted to look more natural so I raced back portrait software around the facing here line and then I use clone stamp to go under the eyes in any blemishes off there and then it looks more natural because what I don't like is what I said before about the last girl I can see the lines under her eyes are still there they just being portrait softened so they haven't been removed they've just mean they're just softer and that's what I don't like when I can see port its software now sometimes I photograph some people and whether it's the camera or how your retouching it can look waxy and it looks like you've used to software in heaven so this photographer might be sitting there going well I haven't even used portrait software and she's saying this about me so I'm just saying it in general what I've seen today when I'm saying that they're over retouched what I'm really saying is there over portrait filtered and you should be retouching more hand to the faith because I'm seeing just too much softening off the whole face including the eyes which I don't like you also take it off the eyes and don't you take it off the mouth as well the hairline the eyes in the mouth more than eyes and the here line because you don't really look at people's mouth when you talk to them and you do look at the frame and the frame is definitely they here they here is differently framing so chin shoulder hands hourglass body language connection I know that shoulder's in there it's cropped out the chin is down you know this is one of those image classic image is one thing bags the hell out of me about that and that's that they're anything I look at that's not the eyes is gonna bug me so that really bugs me is that little hope of here she is just sitting on end too low and her chin if she'd come up one inch it would have just opened the top of her eyelids up because she's doing what I call classic looking through your eyebrows so her eyelashes are touching her lid which means she's too low so she had lifted up two inches and then bought that shoulder forward you would have nailed the shot and if you'd remove it here I feel like it's all there she could have had a little bit more smile in the eyes but you've now that you know I would have liked to have seen a little bit more of that top because it looks really pretty and this is so close I know that this is a sellable image that shadow on the nose which is caused by the lights or soft box you've used means that you just need a bit of reflector over here to soften that beauty dish because from a distance that hardline on who knows looks too hard and I would love to see it a little bit flatter so tune here and lift up the chin two inches public shoulder forward threatened that light down on her face and you would have got a really beautiful magazine style shop okay chin shoulder hands chin is sitting on the hand which we have to be keep love although it's not pushing the skin off her chin or a cheek so that works the highlight on her hand is far greater than the highlight on his face which makes it I'm look white which means you're going to look at it in terms of the close cropped that is what I call a number one that is the top of the head until the nipple line but then this hand just pokes up and it's very well white it only works because she's actually got a till funny here which is unusual quiz normally that doesn't work and who here is not very well framed on the left hand side of the image because it's going out of frame so it looks over cropped but essentially it kind of works all together it is not a solid bt image it's more of a friendly image I would have definitely taken down the contrast of this image so it wasn't quite so highlighted you know the makeup for me is okay I would just like to have seen a tiny little bit more expression if you're gonna lean on your hand it's gonna be more friendly and if you're going to lean on your head then you're more likely lean and do this because you're touching your face so it's more likely to be a cute friendly face touched little smile kind of cute see but if it was a beauty shot then she would have been done wrigley upright chin and shoulders with just her hand touching beauty style to her face at that so different expression different vibe different feeling close just keep working on a little bit more expression through the mouth chin shoulda hands hourglass body language connection beautiful sharp this woman is a classic no chin you've pushed it forward you've given her some chin definition you could have given him or okay I would have made her put your chin through the forward I know that she was probably pushing it right forward what I would like you to do here and this is a perfect example of you know being larger bustard being wide shouldered and also not having a really good chin definition I like that light and I love that war post you've created a diamond in her back I see you've even tucked in their top there so that that that is executed perfectly to my rules in terms of kids and I really hope she bought that shot because that nicolas is beautiful it's enough to compliment the black outfit which a lot of curvy girls wear a lot of black so they teamed to bring in a lot of black so it's really good that you dress it up with her necklace and a good connection cute little smile I just push that shoulder for a little bit more and just making sure you're you're in your forty five degrees when you're dropping the front shoulder to create space that you're not going to high with the beck shore and make sure you're pushing that down and back to so there are so many poses for kids we're we're twisting the body we feel like we're taking the weight on this foot with doing this here were pushing out and forward that really hurt so move through them fast let him stretch out go again until you really now it but well down it's I know exactly what you did here and I'm very proud of you for doing that so jennifer james would like to know if you ever pushed down the shoulders in photo shopped at all or move that move the shoulders at all in photo shop yeah I don't so much push them down not shoulders because I'd never shoot shoulders high but I'm experienced enough to what shoulders go up and that body language is so uncomfortable whenever anybody's high in the shoulders it the most awkward body language because to me it's like a teenage body language it's a don't look at me and I'm protecting myself body language so whenever I see it come up on the first person that's going teo say drop your shoulders and lift up tall drop your shoulders and lift up chin ford drop your shoulders so it's it's something that I'm constantly re sitting I have move shoulders but I moved them in more than down so if I feel like the shoulders of dominating and they look wide I will bring the shoulders in but never really down I have actually made nick's longer so I just using the lesser tall go break the here line I go down to the bottom fear of the nick I go up like a v and then I circle the head and then I copy and paste I tape up a couple of times lengthen the neck a race back through that neckline and make sure there's no a race line or cut line in the nick at lincoln's and nick significantly and it's actually better than dropping shoulders in photo shop because shoulders avery had to place a senior she dropped the shoulders you change the length between the bus line and the shoulder which makes the body look or quit so to lengthen the neck is actually better than to drop the shoulders okay chin shoulder hands hourglass body language in connection I would have done anything to swap her hands over to her backhand being behind her here instead of her front hand but that's what we're faced with these two things about this image it is so beautifully that it is so beautifully sit up it's a great dress it's a great nick place great jewelry I just and I love this couch that she's lying on it's very soft but we've got the bank of the hand people the back of the hand and two things when this hand comes up let's all be reminded about what hands we don't do we do not put hands up between the here and the face because what are we doing right now ah hi jane nice to hear from you oh great hi santa claus I've been really good okay we're talking on the fine okay I don't want people talking on the phone okay secondly we do not paste our hand to the side of our face like I am so sixty right now I'm just so sixteen on mothers okay and we do not lean out chin or a cheek onto her hands we kept the face touch the face lied down or we touched the throat but we pull his hand away from the face because what this is doing it's making her look like this instead of having her hand back here like this and she looks like she's got a short neck or no flexibility she could have been up here like this with this hand just sliding down touching the top of her neckline touching the bottom of her chin line engaging her chin to the camera instead of being down like this no talking on the phone no hand up here in my hand on the face we take the hand out we put it behind we touch down behind the here then we put the chin down engage the eyes to the camera other than that everything about this image I like in the sense that I don't know the hands lift her up a little bit higher but you've styled this shot beautifully here make up couch everything else like it chin shoulder hands hourglass body language connection unite this is a really typical outdoor portrait shot that you would take for a nice family photograph it works you know it's really simple it's one of those images that I wouldn't put on my wall in my studio but it's very sellable and yet I can't really criticize it because the truth is it's just a good standard shot she's got a chin forward she's smiling I mean there's a million different poses I would have put her in as well as that but well executed and good start well exposed nice and sharp I actually got an email about this image because the author of this image emailed me and said I I do the shuttle the time in my glamour shots what I don't like about it as I make it look like they're gonna fit back and I want to know how to exit get the shot and show the dress off by executing this really well so this was actually a question was emailed to me and I really wished afterwards that I had got you to write a question about the shot so that I could actually answer what it is that you wanted to know more about it other than just tell me it's good enough and when I saw this shot this is exactly what I would've criticised before so I was glad that I knew the results so jin come up here really interesting shot very often I get beautiful gowns and I get the look back shot and you know the look back shot for may so if you go chin all the way there and then touch your thighs with their front hand and look at maid just go at this into slide your elbow back like there yet away from it so that means her shoulder is now shaped her elbows back and then who chin is here and then I get her to tip forward so that she's going out of my frame so that's when I cropped that typical frame there in the infects davia I'm going to get this frame I'm just gonna disappear and leave you out there all on your own okay that's when I do this here and I do that shot there which is that kind of look back shoulder forward you know image there but when I'm doing the bag shot this changes everything so from here gene I want you to face this way and I want you to put your right toe right up onto this way ok and then I want you to look back now see what that did when she changed the way she got a booty out here so I'm trying to kick her booty out so she's got shaped there and then I'm trying to get her chin this way so really this image comes down to how far I shoot it so if I shoot it here I can still see the back of her dress but then I've got to come around to here but the problem is is this photographer has come around to here and now the client is leaning back and looking back at me so can you lean back and look back at me so that's where they've shot it right the end that's what we don't want to do it's too far back because what it's dana's even though jin's lane it's wrinkling her back and nobody no matter how lena is going to give you their fluttering backline and as soon as I swapped the weight of her feet to her back foot eso your booty goes out this way yeah no you're right yeah as soon as I do that I smoothed her back out but then she loses her bum because your bomb goes away from the camera so what they've done is they've pushed the bump to the camera and turn around a little bit market going round keep going back and lean back and look at me lean right back that's what they've done there and that's where they don't want you to do so what I do want you to do is bring her body back to the front a little bit more okay kick your booty out to the front and back that's it lean back a little bit with your upper body so you've got a nice shape that now look down with your chin that's it just don't turn too far then you get the best of both worlds you can still see her face but she's not looking back at you you can see her shoulder but the best part is you can see her breasts line and from the front the brace line and then the booty line pumping out the bed and then the slight being tear on the arm looked outstanding and then the chin goes long and looks down and you've got two options she can either look straight down on the ground or straight up to camera and boom there it is you get the back the shoulder looked the body language everything you wanted so canada connection and arc photo both say how helpful it is to have that frame when you're showing that so they're really keep it closer than actually and in because if it stays close and it does really help sally does so I found this extendable frame in l a and I really wanted to buy it and then I was traveling back to australia and I didn't so it tried to get someone to make me one but kaleo just bought me a whole lot of frames so I can actually show you compositions okay we're at number sixty five if you're critiquing alongside me if you're not critiquing alongside me then go back to it but sixty five as we were at and everything about this image just screams out outstanding to me until I look at those hands the hands the hands the elbows are coming down wider than the shoulders which makes here why there remember albert's come in then her body goes down to an hourglass which tapers we want to bring her elbows in that come down and two es towards an hourglass in the center this is a vitally important when you look at these girls and post them is that you just get the elbows and push them in words okay really really really important makes such a difference nicky come back in and come and sit here I really feel like this is such a different watch this when we nailed down on the couch and then we hear and we put it out alba's here they have elbows make us is why does their body asa use your thighs and come up and over your elbows to grow you see nikki and I are about the same height without hell so we should be the same height woman this position instead of down here with their elbows forward the first thing I'm going to do with here when he is pushed these elbows inside her body line okay now I don't want their hands towards the camera so come on to the middle a little bit more seiken see if I'm going to take one out then I'll do this one out and then I'll do this one across that's ok because that's a symmetry but what I'm doing is I'm lifting her body up I'm making her long I'm bringing this inside the body line what I don't want you to do is suck them both into the body line like this that doesn't work okay so one always has to meet symmetrically a little wider but as long as it clears the inside of your body line you need to see from the camera how small her waist is and even curves look smaller if you take my waste from out there too in here okay you want to make me smaller by tapering may down to the waist so interestingly enough men work in the opposite we don't tape of their waste we brought in their shoulders so men go from a tapered post out to a wider pose that's why I mean I call it when they have tennis balls under their arms you know and they puff out like this that's why men pull the chest out their shoulders come out their arms their strong and the elbow sit out the elbows go out help others go in thanks nicky so what's really important in this shot here is those hands I hate them and yet everything about this image is beautiful love that I love the wallpaper I love the coloring love the expression I love the girl I believe it I just want to see those hands and elbows come in a little bit more belly hands bella hands people belly hands chin shoulder hands hourglass body language connection you know this works it works for me on one screen but not on the other good soft hands to the front of the camera which is very hard to do a beautiful expression watching the tip back because the tip that can make the difference between I really confident pose and one not so when it's tipped back it looked least controlled and when it's tipped forward with shoulders bank but other than that I can't fault that she's a pretty girl beautiful expression I love thee here movement and I like the shoulder it's working so that'll work for me chin showed a hand's hourglass body language connection we've got the chin going we've got the connection we've got the expression I love her outfit that arm and her breast line looks really good two things one of them is ok I really have to be careful about which screen I'm looking at because my personal screen this is way more contrast in which means the highlight on her boobs this really white I love this woman's outfit and for a curve a girl she is absolutely rocking this outfit I feel like that front arm is just too big okay I just would have liked you to open her up a little bit more and watch the arm doesn't intrude this is a really interesting part ofthe curvy girls particularly watching the arm doesn't intrude on the breast okay this is where we pull the arm back and make the breasts look bigger so it's about she's here and it's squashed certain looks bigger and wider and she's down like this but I would rather her be pulled back here remember we want the back to look smaller and we want the boob to look larger so really working these arms back and even on cue the girls watch the arms elbows on out because what we don't want is to both um up we want to push down lower and squeeze in and then squeeze the boobs in okay because boobs air really malleable so we get lots of movement and boobs and when you've got curvy girls with big bus he can squeeze right on into the boot blind and it just slams him right down so just watch this front on open up that open up that shoulder a little bit more or slide their elbow back a little weak but more you can even do this you can even reposition elbows there to give that boob space there which thins the back down and opens the shoulder up okay and a little bit tighter of a crop would've worked for me so I would have liked to have seen more of this body dress or less of the top of her here but cropping right in there and member you could have done straight on albums back so if we talk about what good cleavage is there were some questions that come up came up about different course sets broads that supportive raws or things that people should buy or have to their clients but I'm just I know that you have your very specific about what is bad cleavage and what is good cleavage maybe when there's a gap too big of a gap in between the breasts or something like that I know it's kind of a sense it's hard to talk about well it's not it's not hard to talk about it's a big thing women are very particular about their boobs on dh so I waste like if I seen out there and I can see a lot of cleavage I always take them to the mirror and like right sit your cleavage make sure it's exactly where you want it that's a really good way of saying make sure your boobs are in alignment because if one's up once down once and want out some people like to have space and their cleavage like they like to put their boobs out so they paid him out other people like to squish them together and left the map um I find anybody that were something that shows the cleavage instantly is very aware of the cleavage anyway so they'll walk in going you know to my boobs look okay so mostly they're asking maybe I treated no differently than here or makeup on like chicken cleveland make sure your boobs that fabulous and most girls are like pumping them up and arranging them and doing their thing so so it's really up to the client yeah much boobs they want to show you know I've had clients say this is showing a little bit too much for this dress and I make him you know if somebody tells me something in a shoot like is this too booby chicken straight away because you don't want them not to buy the image because they show too much boobs on recently I did a shoot and it was quite cleavage and she said the stress is quite cleavage and we didn't really have an option with the dress because it was no pinning it it was a tight bodice so in photo shop afterwards I closed the gap and finish up I just less ood and walked the cleavage together and remove the actual boobs you know and just hit the top cleaver's line I just want the dress together and she liked it better walk together so you know talk talk ask ask but don't don't guess and don't assume

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 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


Claude Bossel

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