28 Days of Portrait Photography

 

28 Days of Portrait Photography

 

Lesson Info

Photography, Style, Brand, and Price Part 1

I've had nothing but letters on you have transformed my business and I did not transform your business actually you did I transformed my business and I transformed myself and I'm about to go to the next level and my own self transformation because you guys have taught me so match and you also taught me that I'm still thinking small and that my next level is going to be five times bigger than what I am doing now and in my personal growth okay so you guys have shown me that I've been on this journey to this has been really amazing for me the confidence I have gathered as a human being just being able to speak to you all deliver to wall has significantly changed me and I'm one hundred and fifty percent grateful for that from the feedback and support that I get it's unbelievable I threw out the very first challenge as being the natural light studio I thought this was so one hour one that people would complain about how one oh when itwas and yet this is kind of what made me laugh I'm gonna ...

be really honest with you here recently recently three years ago I was doing a consultation in a studio and I was shooting I'm a natural light photographer so I can't think of flesh you know when people say she can't sink a flesh she can't think of flesh I'm a natural light photographer don't like the look anyway even if I could sink a flash don't like it so neverland so can't sing one and I'm shooting with this newbie photographer who has hired me to come into his studio and I'm my my shutter speed is getting lower and lower and lower and I can hear the clank clank off of a show I do that all the time a show father a slow shutter over slow shudder and she says to me are and he tore up my eyes so right because I can't shoot under thirty under theory because if I do under shutter speed of city because um obviously I can't hand hold anything under city and I went either yeah yeah are you thinking there's so many things you do automatically you know when you when you upped your shutter speed and up your s o and slow down the shutter speed and then you know when it gets too slow you've got to up your eye so but nobody had ever told me that you can't hand hold something under that shutter speed nobody ever told me that I'd never learnt it nobody ever told me there so I'm always hand holding holding my breath time desperately to keep still my work's always a little bit out of focus and a little bit soft this newbie photographer taught me something that I would have always been too afraid to ask because people would think I was stupid right and what happens is you go through your life and you build this business that makes millions of dollars and whatever and you still don't ask the one question that one question that one one o one question that you should have asked you never did he pretend that it's just all good and you forget about it and it was the relevance to that that made me think this new photographer taught me three things that day that I'd already been I was always too afraid to ask and she paid me for the consultation so when I did the one I won on the natural light I thought you guys need to know this because when I shoot a natural light I shoot with ivy flat and one reflector and I make it look like a beauty dish and not many people do it not many people can do it like me not many people can make it look like mae and the one thing that everybody writes on facebook when I posted images how your lighting is always so beautiful you're lighting is also beautiful not one person commented on that video there wasn't you know it's almost like yeah naturalized studio I know all that nobody coming to allah nobody said much about it does anybody want to talk about it today white walls and so it just bounces back and that's really beautiful but I have sort of beige walls and more reflective yeah just my studio in new zealand doesn't have white walls just this studio that we're shooting in seattle it was still even though in your studio is so beautiful I bounce light everywhere there's eight reflectors in there it yeah all around I'm bouncing light everywhere I go everywhere is about reflected bounce light on palestine boy's got a good lows okay thank you go this way I was getting huge shadows on the face and I realized it's because I had this open window a huge wall of just a huge window and I wasn't putting those little to fill corgan's yeah it that changed the look completely yes oh in the in the challenge where I take her away from the window and you watch the hard like goingto open light such a basic move that all photographers should know that most photographers don't know well I I think the most difficult thing for me is keeping the palestine boards upright and where you want them and moving them around so that they fall down skway can I make a noise and their total pine and a lot of stuff all over the flora and I know somebody e mailed me yesterday and said I bought the palestine boards and they're too tall for my ceiling what should I do well I cut a foot off of them because nobody I told you that all along it's like watermelon will be all right okay natural like challenge keep it basic this is the one thing I want to say about the natural light challenge do not be afraid of asking a stupid question about your shutter speed do not be afraid to ask a stupid question about your if stop do not be afraid ofthe understanding their relationship to if stop shutter speed and so do not even be afraid of doing that it wasn't until I started shooting a film that I really understood the concept of having a fifty shopper and then upping my eyes so in order to let more light in my camera opening my linds up to two point eight nothing in living and too much like defusing it with a with a nine what if I got a nine stop density filter when I'm outside and I want to shoot wide open but I need to block the light going to it on dh that's how I do that so at the end of the day you know you learn the basics but even the most advanced photographers so I was talking to tony call bell wonderful man he teaches a great lighting class and he said he ran a workshop for a vance lighting and when everybody got there they started to talk and he realized that they were it the most basic level for lighting and they'd come to an advanced lighting course so he said he taught one owen lighting throughout the course he didn't say anything he just was that these people came for an advanced class and he said I took them right back to when I won first I broke it right down for them and they all came up to him afterwards and said I have never lend so much to it and and of course before and this is just a this advanced lighting was amazing and he was really you know you're teaching is stripping it back we have egos and we don't ask questions and there are simple things we need to know that we're not asking so I think for me personally the one thing that was really surprising seeing you work was how little light you actually used I was shocked you know all of my images were so hot when I first started shooting and I was just shocked so you were trying to let more light in so much light yeah and I was trying to cut light down always you're always trying to cut like that yes I have a question here from kaya and there was quite a few people who had second this who said to sue have any advice about natural light studios in the part of the world where there's very little daylight during winter months like finland sweden et cetera new zealand seattle yeah you need to be in here and make up by eight and nine you need to be shooting by team then you need to be repped by two thirty so you need to either get two chutes and nice and close and your middle part of the day and you will be shooting either and big wide open spaces with bigger windows if you can oi closer to the window that's just the way it goes out camera shoot with really high I isos now but you don't want everything to be too grainy I will go to sixteen hundred if I have to when I'm shooting I will go to thirty two hundred feet ahead too but you know my camera can handle five t mac three can handle thirty two hundred really well and then nick on shoots in the dark and we all know that so a t the end of the day you can pump it up but you need to allow so what I do it's like any studio that you're going to need to check out your space to get your space and then make that happen rick you know according to what space it is the second challenge was about mapping the outfits this really was for no other reason then I needed you to understand when I have two women in the studio how I'm preparing their five alberts to flow together this was really just about flow it's a great video to watch because it ended up being we didn't have a producer that day because he was producing something else and susan and sean were listening to me and didn't tell me to shut up but also the video's nearly two hours long instead of one hour long which is hilarious because they're like well we got a lot of footage and oh well bonus video so you get to see me met the space but you also get to see the colored corners I have and how I met out their outfits have already seen the flow in the images in my own mind and then I'm using my met now when you're learning my member it's very important that you learn to flow through the flow posters but then put your own spin on it because the idea is I'm showing you the basis of how to make money the foundation of have a cellar folio on what you make out of that is entirely up to you from the so that challenge was really about this one the more I can connect with my client before the showed on what to wear what to bring the mork committed she is to having her shoot done turning up for a shoot and spending money with you it was that simple that is the bottom line in the workbook I'm going to give you a whole lot of things to take off but really I'm going to give you the bottom line of each challenge in the bottom line of this challenge is when I asked somebody to bring in five outfits I need to talk to them and educate them on what those are how they want to look how they want to be photographed I walk into my shoot not only fully prepared but my client comes in fully educated in that is the difference between a really good client and one without one composition five poses okay this really I need you to start moving they need you to get out of being stuck and one position in front ofthe that camera I cannot have you sitting in front of the client taking twenty shots in the same I suppose everybody does it and you need to start moving them and directing them with confidence this was about just showing you what my basic posing manual has showed you all along that I can move a shoulder and hands and sink significantly changed a composition by going left and right ford and back or using my zoom so I need to get you off being steady kai needs you to get you to move in the one eighty this whole challenge is about getting your moving did this make you move did this make you move your client's hands anybody want to jump in there when you're shooting with five different outfits do you do standing to sitting in each outfit you know depends on whether they're standing so if they're in the he fled and they're standing I might take them onto the cheer if I think the outfit looks good but I'll just keep flowing through the posers if I've got them on the wall and they're just rocking the wall and they're doing they can do lots of different war poses and doing all the side arms the becker I wouldn't add more because I know I've got like five to ten shots that easy can go on the folio I'm going to move on if they're struggling on the wall and I know I've only got two or three then I will move them into a cheer keep that outfit or ditch the outfit and go for something new I tell my clients to bring in five outfits and they always bring in fifteen all women dough and then they tell you they've got nothing to wear all right so these multi choice they're not only my multi toys in my wardrobe but there's multiple choice teo change them out put a flower in the here to change their outfit takes him close off hold skin shots whatever fabric anything this millions of choices on what to bring the most important part is not what you're changing but the connection teo getting them in that chute with the right clothes turned up educated connected on the phone and like you the five poses is going to sell you multiple images ok every single time I photograph a girl if I can change her post five times I can sell five images if I take the same shot I'm going to sell one even if she smiling different her expression is different it's just not the same so really really important the next challenge was about the flow you want to ask a question about the five yes please about the outfits von had a question about for a new photography business what are the key wardrobe items to have on hand to augment what the client brings don't okay yeah I never did my studio I never had a single thing only when I set out to do the big flouncy dresses so they start having a coup truman in my studio if you have a coachman in your studio you will ultimately clone people a client client clone client how whether I've always had fabric in the studio because I had a girl turned up one day without any outfit sheer black titian and jane's and I'd like you even read the email and then that's when we realized she didn't read the email people don't read the email that's where you want to get them on the phone that's what you want to connect with him on the phone you want to coach them style them tell them it's a styling titian so it's all part of the shoot this they're going to turn up and so then I realized that if I had headed coochie man there I would have an output but ahead black fabric and I actually tied her into a dress so first I made the black fabric like a strapless dress with a camera bum and then I used the cover band like straps I made four different outfits with this black piece of fabric and shot here multiple times and and she bought in eighteen hundred dollar folio so I did that on the fly and I always keep fabric in the studio for that reason in scarves but now I have mohr of my own stuff but I don't advise it you don't need it you do not need it if you do your job and the educating then they'll tell you what they want aware and they'll go shopping for it women love to shop we need an excuse you know you're not taking anything away from us by expecting us to go and buy something for the show you can go to forever twenty one and buy outfits for twenty six dollars like incredible outfits I go in there in these cells reckon are just crazy really beautiful little dresses for cheap cheap cheap okay this flow posing for me would be the most significant advance move that you can all use in the next year and it's sorry master in the next year okay because fly posing for mei was rumor I showed you had a poser on on a couch that didn't move and until we straightened it up and then our white box same poses that you can't tell me you don't have will you get the white box from a maid that worked box you find them everywhere I care has a little white ottoman justo foot stole just something you sit on it all of this is just a box and I painted it white and the idea is it doesn't matter what you're posing them on long as you can confidently go through the flow so I want you to start thinking now and you watch this challenge this is something you have to practice when I have a girl and I have an end a piece of furniture I look at it and I think how many different ways can I photograph here on this furniture how many different ways can I photograph here to make her look good like what can I do on this furniture that makes him look good can I get a lien on it can I get it like what can I do I'll do anything I'll shoot up close but what I'm doing is by putting people's elbows on things you give them hands to their faith because they can't bring the hands to the face when they freestyling right when you sitting on something you give them a reason to recline and lane which sums the body down from the front so they can't you know recline and lean into nothing so whatever it is think of a hundred different options and ways to you that and the flow post was about taking a simple barks and in replicating how many poses I think we got sixty three sixty three poses and she's just flowing through them and for the person who just put on the check room what if it's a curvy girl cause jessica was very long and lane exactly the same poses she will just look a little curvy a though okay so really really important is learning how to flow now how do you learn how to flow nobody taught me how to pose nobody ok I used to look at magazines and go how did they do that pose and then I would get a normal body in I can't just a normal sized body and I don't mean curvy or just a normal everyday body five foot three a girl would sit down and I would go to do a pose and I would look at the magazine I got my client didn't look like that and I had to learn how to lift them up and over into the post to lengthen their body and it was all for me about lengthening and opening up and then body language and then I realized that I had such a large river toe are posers that I could actually flow through them and that's how I made a manual out of it because I had so many like I was like try this and I would go into a shoot with one new post okay one so I had tina already locked down as like right I have locked down cava girl and that gives me boom boom boom four different crops I put the fan in there I make her laugh and for ford and I put that into black white these five images now I like her down I do one and then I do too and then I do three and then I do for and then I do five and then I've got five different expressions and when I do what I shoot to the left a shoot to the right I shoot to the left put in some negative space I go forward and then I go back this five more then I'm going to stand around the wall and I'm going to go one I'm going to go to I'm going to go three I'm going to tune her around I'm going to make her laugh and then I'm going to make her dance it came then I've got five more and then I've got twenty images go and change your outfit again and I would sit on the bass tal and I would do fashion cordially and rock it sideways and then I tune it to the front and I'd go one two three four five now for any of you that saying that is you know like ill then you'll all look like soup rice yeah yes yes you will sort off then you can put your own spin on it but only after you've sold you know a good solid eighteen hundred dollars okay then by all means spend the hell out of it do whatever you want to dio but just learned what makes women by portrait and learn this I got my entire education from fashion magazines and then I spent my entire career trying to make a normal body look like a fashion model okay that's what I mastered anyone can master this it's what we all want their arm or women's magazines per capita than any other genre in the world because we drink them and we can't get enough I actually band would you believe all trash magazines from my house and my studio about eight years ago I don't think they're pro woman I think if they show posh spice with cellulite that that is not a positive message that I would want around my nieces that is not a positive I'm sure park doesn't want that you know and I think that's revolting and so I banned them so I have this thing where when I go to the supermarket even whole foods have some trashy type meg's you know like not really trash but or when I go to the supermarket or store I always stand in the longest cue so I can read as much trash and look at all the pictures and then I put it down I don't buy it because I banned it from my home but I still read it and when I go to the doctor's or anything like that I'm not we'll trash trash I go oh really so I can read the trash it's true oh tube it but the truth is at the end of the day this flow is were it at okay looting this flow but what you're going to do when you master this flow is you're going to confidently pose okay you're going to confidently pose me so when we were training we're in a shoot one day we're waiting for here and makeup I gave my camera to susan and I said take a photo of me and she's like okay so she's taking a photo of may and I'm standing there and she's like right and I'm like this is cricket I can hear crickets some light what do you want me to do and she's on dh talk a talk a talk a plea plea plea plea plea plea faggots faggots taco taco and I was just like what do you want me to do is just and I'm like what do you want teo teo breaking out and you take this shot and I'm like college on and then she showed me the back of the camera and I'm like oh my god wait on the back foot you know tell me what you want tell me what you want because I can't see the back of the camera ok so people think because I'm I compose that I know what to do that's not true I cannot see the subtlety off where my chin looks good you know is that too low is that right is it too high can you still see they're on my arms pinned back and have I got enough shape of my body and you want me to go back on my I can't see that so after twenty eight days I gave him my camera when we're out of the location shoot and she just picked up and she was like bring your chin forward maybe hid this way bring in ten forward push back on your way and she was just doing what I naturally do which is directing people when you pick up the camera and I was listening to here and she was like got it that was beautiful and you know what she said she said the one thing that I've never told people to say that I say and she's picked it up and that was there it is okay so you know when I'm in camera and I'm like sit up nice and tall bring your chin towards me reelection mouth like a slight tilt this way bring your chin down now there it is stopped because I can see it right there it is there it is because it's when you go from here and you're in there and then she goes now bring in ten forward and I bring my chin forward and then I'm here and I relax my mouth and I bring my eyes up and she goes there it is stop and she said that when she said that I was like there was a proud moving I said that I got there it is and you know what I really don't know I really didn't know that there was something very significant I said until she said it I've never told you guys to say that because it's not something you like and then I want you to say there it is but what I felt not just as a photographer but as a woman that when she saw it she told me she could see it and not oh my gorgeous gorgeous beautiful gorgeous darling gorgeous honey gorgeous it's not telling may what you're doing there is not giving the direction yet you can pump me up a match as you like but I feel very awkward looking at your black circle and so when she said stop there there's like she can see it she can see it she's got it she conceit in may and I'm doing it right that's what that is you must learn that decision so now I want you to take control with this challenge watch this challenge over and over practice it side by side watching on your ipad has somebody sitting on the box the tear the couch lift up nice and tall bring your chin around okay lift up nice and tall and push your chin forward working that body push that hip out stadia lifting up nice and tall girl push your chin for dear it is stopped eyes to me now give me expression okay really nailed this challenge it will make you an incredible photographer all right so from here we went to posing couples this is something I've never done on creative life before and the idea with posing couples is if this is the truth okay we're any speaking truth today I don't want to shoot me they're easy to shoot my lover easy to shoot no makeup no reflector all body language is open they're confident in front of the camera totally unlike women and easy to show I don't spend any money on photographs and b when the boys come into the studio it's about them and I don't want to make it about him I want to make it about her that's my personal choice however if I can market to this guy and get him involved in the shoot my sale doubles it doubles now I'm smart I want to maximize my business so if I focus on shooting here and get him in for the last fifteen minutes no makeup they can just walk in and look hard with here have a single shot she can fill her folio with eighty percent of herself in twenty percent of him and then they can put a couple shot on the wall then I have doubled my money so I went through traditional posing traditional posing which was all about them going through traditional sequences in the studio and I really enjoyed this challenge I enjoyed this challenge because I love tiffany mark my friends tiffany american there's such a beautiful couple there was such a great couple to pose because they're almost the same height inhales tiffany's a tall she's tall and almost the same height so I was constantly putting her down onto the split level to drop her down so I could stake of the oppose and also because they just have such a beautiful connection together as a couple and I loved that challenge so it was a very traditional posing in the studio and has anybody been maximizing that year there's anybody started to shoot couples are a lot of you if you're winning photographer's already bringing couples together but I wanted to do the portrait vision of that feel free to interrupt me with any questions whenever you want okay you guys to write then we went to capturing beautiful connection um the fabulous can cost a mint of course um you know what that isthe that's that moment that everybody looks in your camera completely relaxed and smile st their eyes at you and it's like a soul smile this is the one thing everybody asked me is how do you get people to look at you like this I want to talk about this challenge this challenge was really really really important to me it was one of the most significant challenges off them all because I feel like as a photographer I have obvious faults as a photographer but I eggs ell in this one area in this one area sells more photographs than any technical ability or skill that I have learned in the studio so you can make fundamental posing mistakes but nothing gives you connection like this nothing self portrait s'more than a connection like this would you agree with that yes who has been now seeing this connection and their photography since they did this challenge yes who was struggling to get it anybody not your old getting it okay um passed down valerie I find that some with some women the connection is there right away and with some women I fight to get it and I don't know how to get the person that just cannot give me that when I haven't had problems with other women but I'll find one and it turns out that it is definitely effects the final product okay so it's in the expression on the face and some people do not have a kind face so there's a there's an old saying greek saying from thousands of years ago that sees your face becomes your biography and so if you're a worrier you sit to worry if your smile you get smile lines some people don't have a very expressive face and that's where you use the mouth a little bit more okay so I can fully relax my mouth but smile with my eyes and I do it in a way I'll do it to you I can do it really easily so if I relax my mouth I can do this right not many people can actually do that they can't do a full range of expression with just their eyes just used the mouth more use the mouth a little weak but more so if they're just not coming up in their expression just say just talk them through a true smile because it'll lift your face it'll lift up through their eyes and it will make a difference so we have a question from bethany from fargo north dakota can you still make a connection with your client without them looking directly at the camera um you see this is interesting I only have two eye lines a gay because I have looking down my own body or I have looking at the camera because I don't believe people by the portrait where they like this because it's a fashion shot and what is that look away look wistful nobody that's not a connected portrait for me so if you want your clients to be looking somewhere other than now for me I'm either looking straight at you or I'm looking at my own body like this case in my eyes it down my own body line because if I if I'd do a pose and I'm looking at my own body line then I'm within myself I'm appreciating my own body I'm looking at my own body let this but if I looked like away like this or then I'm looking at somebody else and I I'm not looking I'm not in myself and if I'm looking at you then I'm directly at you so I don't see that as being a portrait but and can I get the connection year you can still work the body but you just need to get them to connect to whoever they're looking at I've never seen a person that can do it that's not a model models could do the look away really good but and here's the secret if you're going to get them to look away get them to look over these shoulder like back that way don't get them to look forward because people do that and it doesn't work because if somebody was to walk towards may I would look at them but if I was going to look at somebody and a coy way I would do it like that right I wouldn't go that is the body language kenna all right see the questions are flooding in now that a connection and expression go so seo became and asks how do you break the bad habits that clients come in with from watching next top model yeah just say don't do that what you're doing right now don't do it and you know what I have seen is honest to say and he lets right now everybody sit up nice and tall reelection mouth I can't pull your chin towards may just your chin and down ever so slightly nicely done I'm going to give to thousands of dollars thousands go up and down up and down okay so from here right here now tiny little smile in the eyes okay lips together tiny little smirk so if people are going to do it that's when they're going to do it it's called duck mouth right and this is where people won't want to do this they feel compelled to do this and what they're doing is they're holding teaching in the mouth all of the bad habits aylin from top model arab tension in the mouth so everyone do duck mouth you know in the trying to do that they're pat I do it all the time I faced but there's a difference between a smug and duckman always I've had this like we're not feeding you today you're just here for a photograph so I will actually go like this lips together reelection mouth and as soon as they relax him out they cannot do duck mouth I had one woman that did this she put it town a panda who top lip because she thought it made it topless follow and I'd look at her and I think you and I say relax him out there she go what are you doing there you don't need to do that just listen to me reelection it's about direction being being confident being assertive and directing is there ever a client that you have that you just they can't dio a closed mouth or a serious face all the portrait's end up having to be smiling because they just look weird with like I feel like even me I have small lips so it's very difficult for me to do a closed mouth photo without looking weird so I'm just relax your mouth let it see your mouth naturally sits open mine doesn't okay come and stand up here so when you look at somebody too relaxed face if they have big teeth or anything like that or different shaped mouth this is here and I together with a relaxed mouth go okay my lips together and who's there not right so straight away that to relax mouth and that's how I would photograph here okay now when you do a little weigh smoke with no tea then that's all up there in the ice look straight here I guess so when she doesn't little smirk then her lips come together and now do it just a medium smile like okay say your mouth looks comfortable and relax here a beautiful big smile go okay so when you look at me look at me reelection mouth left to turn up just touch that and give me a tiny little smile in your eyes so it just naturally comes up start there and just watch the relax mouth so were the relax mouth is then you've taken away dac mouth you've taken away the fake pout in the tension because when people try to smile they do that and they hold all that teaching around their mouths and they look so awkward that everyone has a relax mouth that looks good yeah used whether your because you're topple it comes up like a cupid tablet and that's where you can see your top teeth so if you try to hold your mouth shut then you look like you're trying to hold your mouth shot where my lips stay together just normally yeah so always look for the relaxed now so we have it I have another question here sue and someone I actually cannot find who asked so I apologized but how much coaching do you do for expression before you start shooting you sit someone down and you don't you don't do any of them I mean I know the answer to that yeah I think that I would think or assume you have a client coming you say this is what I'm gonna know what I want from you none of that and it's not this is what I want from you because they therefore you say this is the kind of guy and this is what I want from you uh not the other way around say this is what I want from you do as you're told there would be all I was doing you're told and let me guide you but there's one thing I do say to a lot of people when they're nervous a lot of my clients come in and they're quite nervous and I will say to them this you cannot see what I can see trust me I do this this is what I say you cannot see what I can see trust may do you trust me yeah you cannot see what I can say just trust me and let me guide you you cannot see what I can say and I can see it I know what beautiful looks like I will say that and people will go yes I trust you so one of my challenges is that they were giving the beautiful expression and then the camera comes up and then just okay okay if you stop talking they read they defaults it victor what they were doing so it's the expression it's the pose so it's lifting up nice and tall bring you tonight bring your chin forward lips together tiny little smile in your eyes camera comes up and they default back so keep talking ok just keep talking yeah it's direction strong direction do we have any more connection questions way dio yeah I have a question you from abigail kay who who asked would sue say that connection trumps posing and when deciding between a photo without a perfect pose but great connection would you overlook the post what if someone had hit stop it and get both uh and then make sure I never did that again with minnick shoot but yes um expression trumps pose but remember bad body bad body crops bad body lines trump expression okay for a woman so if she looks fat or her body doesn't look good that's gonna kill it wouldn't matter what the connection was she's not gonna buy it she's not looking at it faces looking at around so just make sure the pose is important but connection trumps pose however it's got to be yeah it's really really important you can add one more connection question I want to stay on this just for a bit longer okay because I want to look at these images that are on the screen right now and I want everybody to see them you saw this in the challenge you saw every one of these girls and me talking them through that expression the one thing about my wig there are no hands in this image these thieves have a passport photographs the hidden shoulders ok I'm using the shoulder and the body with connection have a look kenny's shoulders push forward ari elisa's moving susan's is moving kathy's has pushed this way you can see that they're giving me this they're giving me their body language through here because anybody who connects the chin and the shoulder ultimately will have body language okay even when they're pulling back their arms and using their shoulders here then every one of them are looking at me this way can you see the way they're looking at me that is connection that is getting that connection through the eyes and asking for that little smile in the eyes that is what makes you look at every one of those girls and every one of the images and look them directly in the eye and you have to look at that and say they each one of them are beautiful and it has nothing to do with their personal anything about the physical trace is what they are showing you is there light and you can just see it beaming out of every single one of them okay ask me more questions about that all right so the questions are coming in about multiple people in connection so how do you go about getting connection when it's a couple how do you go when its siblings when you're when you're working not just with one you'll see in the challenges that the other shoots where I shoot two to three times higher than normal so I'm holding a group space so if I was going to hold this group space I would be sit up nice and tall everybody okay pushing your chin forward and down remember I can't look at you all at the same time so I'm just going to do rick ju so that night and tall push that chin ford tiny little smile in the eyes I'm going to take it few more because there's going to be blanks I'm going to go click click click give me that little smile little expression everybody hold it up a little bit more a little bit more a little bit more and I'll just keep holding that space so that they can all hold up and just listen and direct and everybody wants to have a great photograph so when I will finish I will always look a group shot and they'll always be one idiot that's either looking away looking down you know stupid expression double chin and at the end of the day the the idiot that's not going to look good so holding a group spaces just about constant direction and talking everybody looking this way family special children watch the kids the kids look away so easy distracted shoot fast and this is when I do shoot more than normal yeah uh question in the audience uh when you're when you're talking to someone and you're coaching him into it and they have a beautiful expression but their eyes aren't directly in your latin's is there anything you say to kind of get him into that maybe they're looking at the light of day I've got there I'll test my lance and I'll go eyes to hear it's really had sometimes people will look at you and you go eyes to hear and their eyes don't move anything they were so some people can float in the vision it looks like they're not looking so just say ok straight down the barrel for me straight down the barrel I will say something like that straight into my leon's kate straight into my leans kate hold it lift up nice and tall eyes here kate tip tip and I'll just take my linds just to make them re engage there I just feel like the basis of everything I do when I look it I wish I could show the hundred natural images that you see in me but I can't because of the copyright that I will block them the one thing I will say about these images is this store too many gratuitous poses because this is no posing this is just showed a movement and connection and look how beautiful they are that's what people buy these they buy that you don't need to have a hand here in a hand here and like what is that why would you do that ok if you could make it look natural then yes but if you can't put your hands down put your elbows back and put some fan and that here okay bug one I want vogue wanna one love it just a follow up can when you're working with more than one person can they focus on the connection between each other versus connecting with you the photographer no because I don't usually take photos of people laughing and connecting to each other I'm more likely the girl group which is them all together which you're going to see coming up in the next few challenges so actually I'll come back to that ok I'll come back to the group connection because I addressed that with your show when we go from shooting with connection to shooting the group so can we wrap this up with one final question came through and I just it's it's it's amazing to see people and how it is this is a difficult concept to grasp for a lot of people so and said how can I recognize connection I still don't get it yeah okay um so the only way to do it is to hold somebody's gaze and practiced this so everybody tend this five a few fire this fire this not gonna wake everybody turn to the person next to them and for the eyes on the five on the end tune tune around behind okay and now I want you to hold your gaze okay and I want you to smile only with your eyes no nervous laughter no chetta just relax your face hold the gays and smile with your eyes so project a smile ford with your eyes to that person until you see them smiling back at you with their eyes can you see that everybody can do that that is what that connection is okay so what's my based cameras at this one it's when you look at its closest you can to my face and I want you to um just hold a gaze here okay it's about putting all of your expression through the ice so you just ask for it in practice it when you look at other people practice the heart the gays hold one minute gays hold so you could do it with friends you could just say look I want to practice this eye expression thing so I want you to hold my gaze for one minute don't smile with your mouth and only smile with your eyes try it with five different people this week until you can see it and two you can see it over and over again that's what all of these girls are doing right here now they're smiling not with their mouth but with the eyes well susan smiling with him out but you can see that they all have that infect susan is a classic example ofthe needing to smile ok because she has the same to your top lip same teeth very distinctive she's a natural relax mouth open okay and if your mouth does open you were less likely to be able to smile with your eyes that way without smiling that and she needs to be smiling you see kepner and I we don't need to smile because I say it all r e l a here's a little and both cathy j and mariella have big full lips okay both of them do bigger than keener and I and via a half and half the half eyes half mouth susan's all smile killer and I'il eyes can you say that but all of them equate to exactly the same connection to me even in this one we're susan's probably being the most serious that store sixty shot for her you know so it's a great great example in depth video I shot it as you saw I shot it live you and then at the end when I sit down and I do those expressions had anybody watch that why did I haven't watched that can you see me change my expressions on my face practice it in the mirror you know you learned that there is something you learn so when you watch america's top model when they like you you know you win giving enough expressions and you always think poor girls no photographer was there to direct them or guide them that's what they supposed to do their models they're supposed to know what to do okay but this connection is paramount in its really everything that I do I'm not going to go through the rose again if you want to practice the rules you know this is where I am all about this is chin showed a hands body language asymmetry hourglass connection those are my rules those air the critique if you want to learn how to critique your and would go to my blogged look att the self critique these two challenges we're just about showing you how looks good and camera how it looks bad in camera why we do it and what is so important about it rick godless ofyour genre if you photograph women then these are the rules you need to learn the chin the shoulder their hands that hourglass the body language and the connection these air the first go to things that I do and all of my photography the styling and war dr styling and water I brought up so many interesting questions from all of the challenges because everybody said to may I wish you'd given us more of an idea on what to tell people what to bring you're not to tell people to bring anything what you have to do is styled them and if I'm talking to on the phone how do I know what you look like how you dress what your body shape is what your age is I do not so I asked pointing questions like you need to bring in five outfits are you a casual jeans type of person or you are more evening gown and if they say both then I say I want you to bring jeans and your favorite two or three colored tops and I want you to go up into an evening look okay that could be the cocktail dress that's in your wardrobe that you never get to wear and I don't care if it doesn't zip up anymore I can still make you look gorgeous from the front or like victoria I will put my foot on your back and I will zip that dress and you can complain as much as you like until you see the photographs okay and so really styling on war drive was about again going back to mapping the shoot is you cannot map an amazing shoot unless they bring in an amazing wardrobe you cannot get them to bring in an amazing wardrobe if you do not connect with them and educate them on what to bring okay that sounds repetitive but that is one o one going to get you one hundred percent commitment to somebody tuning up in your studio make your consultation fifteen minutes long instead of struggling afterwards if they don't turn up with clothes this is where you make a catalogue of clothes from the chutes you've done bring something fitted bring something colorful bring something you can dance and bring a cocktail dress an evening gown if you're brave bring lingerie but please bring it so that we can talk about how you want to be photographed and do that on the phone as soon as you can this challenge was about creating a second pdf which was about wardrobe we're going to go into pdf and marketing later today but this really was a about making you connect with your client beforehand under the guise of it being about their wardrobe but really what you're doing is you're educating them you're connecting them to you and you're preparing them to get excited for your shoot if you take fifteen to twenty minutes to educate your client pride to them coming into this shoot with your family portrait studio and newborn a photographer or a glamour photographer or boudoir photographer you will double your sail and you are also double your likelihood that they will turn out for the shoot I guarantee it that consultation is more important than anything else you could do in your business what do you do in um the client shows you their wardrobe choices and you just don't know they're just not good you two how do you tell them or what do you do you just do the best with what they've got okay yeah I mean what would not be good ok I had to go to that one day in jeans and a black t shirt and I made a dress out of black fabric but you know I'm kind of quite enterprising like that I have sight it's called kiwi ingenuity we do we can do pretty what we macgyver it you know on the fly you know a couple of sticks and a few leaves from out the garden and I made this court to again for u s o what was really important really is that sometimes people bring in not very good clothes they bring in clothes that don't suit them big baggy clothes I just make sure when I sit them down I go to the back of them and I'll pull a shoot tight and tuck it in the bra that I would literally pull a jacket or a trace around somebody and then tuck it in the back of the bride say just gonna pull us around you so it's a little bit more fitted I would pose them in a way so if they were wearing a big boxy dress I would pose them in a way when they set down that I could get the arm around the body to show the hourglass and then I would take the biggie but here that's giving them no ways and I would take that into the back of the types like I will go and do that now if the clothes I think that probably the worst thing that could happen is boxy clothes and the same color ok like the woman that turns up with five black outfit it's okay so that eliminates a lot of your lighter shots and that's where you have to get just is really creative as you can victoria um this is one of like the big things I come across and what I've been doing lately not so much for the women but when family photography or my kid's stuff I actually been doing the shopping for them because they'll see my stuff in this like well can you do it like that and I have no idea what to do and so would you ever do that would you ever go shopping with them or just say all right give me what you want to look like in your size and I'll go do it for you I find family photographs need more guidance in the shopping area than then my style of glamour because most girls get it from a website I've never had to go shopping with somebody although I had a girl turned out for a shoot once in his suitcase never arrived so we had the opportunity to go shopping together and I was at my suitcase hasn't arrived yet come on it's good a nordstrom and we went to nordstrom in l a and border hollow replies thie idea really is however you educate them whether you want to shop with them or not is fine I actually have a friend who shoots family portrait and she includes three hundred dollars into her package which is three thousand six hundred dollars into a family shoot package to go shopping and the whole family gets a new outfit and she gets like white t shirts and jeans for the kids and measure I'm cheap chick she does that that's that's part of his styling service and it works for her I wouldn't wait for me because I don't have the time but I would rather educate take the twenty minutes to educate them create a pdf without fitz to give them options show them my gallery online and say what photos do you like you know what it's really amazing people will say I don't know what to wear and then I start asking them questions how do you want to be photographed pull images from magazines pantries source images from google send them to me tell me how you want to be photographed look at my gallery show me your favorite images and they'll go well I love that shot with the white sheet and I was like well you don't need an outfit for that because I have a white shade I feel people turned up with a white shape is that you really thanks we'll use that you know you didn't need to bring a white sheet I've got that covered but you know I mean if you ask the right questions you'll get a very very solid understanding of how people want to be photographed which helps you shoot them service them and give them what they want shooting kids this has got to this is opened a can of whoop ass this opened a can of whoop ass that I have not seen in the photographic industry before I can not believe how much people talk about this I really can't it comes from posing coming valerie how about a sixty I know this I totally set her up because I made her in portland right this woman is sixty six years old okay she's gorgeous and she has a beautiful body right is you all do I can make valerie look really chunky really quickly with my camera because she's the same high this may okay so we're short short lens okay short limbs boobs okay and you're a classic buck shape you don't have the tiny pierre big hips tiny ways all right so I can make her look boxy and chunky really fast so when I learned how to pose women I learned because if free single woman wants to look longer slimmer and the best and most of it is about posture as I started to photograph cuvee a woman and then as myself as I got older and I put on weight I realize that the one thing that hinders photographs is white which is why models are lame okay morrow's elaine because you can turn a model on any angle and you can shoot them on any angle but there are five angles I cannot shoot valerie on because of a height not because of her body size okay and so when I learned to shoot this was nothing to do with shooting people who were overweight nobody wants a photograph with a double chin nobody does right nobody no matter what your weight skinny skinny girls were coming into my studio ten years ago and going don't make my arms look fat don't make my arms up there and I could get my hands around their arms but then I realized that when you you don't see yourself from side on even in a mirror you very really see yourself from side on and most people don't realize to turn away from a most people don't realize that when their armies relaxed it looks bigger than it really is and then until they see a feather of that and it wasn't that space becomes white space because they've got no sleeve on and your arm looks huge and you're like I've got huge arms and you don't so nobody wants that so we pulled her arm away and we shape the shoulder and when we shape and contour the body it was about learning body language it was about shaping the shoulder to make the breast line look good kicking the booty back to make the white waist look good bringing the arm back to make the army look good then she sits nice and tall and she brings her chin for cause even for a lean body when she turns towards may that's going to wrinkle ok if these weight on there it's going to get with okay so we learned to do these simple things and then I learned that the clivia they were you just dropped it down further and down feather and down feather because the more space they put here the lena she looked in her body the ability to shoot curves came from looking at fashion magazines and then going to pose the girls now if she wass five foot ten and ninety pounds I could post her like that without a chin ford in this position without moving but because she's short I have to do that and I had to learn that in camera so I was just like I cannot make an ordinary woman look like a supermodel and then I was like oh nya I can I just had to learn how to lift up and pushed down and open up the areas which are normally open in a tall lean frame there believe it thank you so much and you really are gorgeous and I am going to photograph you and come back to l a so one thing that's really really important is I can take a little body a little wee body and make it look chunky when they don't have a waist did you watch the photo shop for the did you see when I shot that beautiful girl in the bait address on the rise background she's gorgeous she's a perfect tiny little buddy but because she doesn't have that pier waist hip ratio she looked boxy on that position so I pinged to waste in on photo shop did I enhance her body absolutely doesn't look more like a dozen real life years is this the most significant thing I could teach you as a photographer yes it is because you are in the business of photographing women and women will buy anything where they look good correct okay a woman will veto a shot if she looks like crept in it it's about learning how when you shoot curved to drop that front shoulder and you know it was so great for andrea to be my posing model because she said absolutely perfectly in that place with it too comfortable chin and and she's large breasted kate large breasted is going to make you look boxy in straight away all of her outfits are going to sit not in a tight waist position so teaching them have a tune on the forty five drop down and push that chin forward is so sick significant and really the only thing here look what it's doing to the front on the front arm just glides away the chin becomes defined the eyes connect the here is beautiful she looks magnificent and she's wearing that redress that readdress which is confidence and beauty and all she had to do is open up through her shoulder just open up and push your chin forward that was it okay so you're just learning to shape in contour with posture shape and contour with posing okay and that is the difference between taking a good photograph and a great photograph just working with their body working with this shoulders working with their expressions the chin is the most significant thing that I've talked yet okay there isn't a days in the last twelve months where I write a facebook status and somebody doesn't write ten fourteen down so it's like all right so and there put a picture and it's like she's got a chin put it down it's like yes I do try to put weight in forty down everybody in the world well they turned for him down at all times you know nice told shoulders back chin florida given the chin food indiana's oh significant and photographs in corporate shots and shooting men and big double chins in anybody with wait sometimes a really lean body has a really little chin and if they pushed the chin forward and up elongates that and makes it look longer instead of coming down so remember the cooper you are the further you go down and you know the lena you are the feather you come up but it always comes forward away from the nick and you always predicting to the front off the shoulder always always that chin just makes such an incredible difference we're going to talk about the two minute role in photo shop on warping in the next challenge but this is the one that I used in the curves posing because I'm creating this space with her body I'm creating the space and getting her to push it in forward I've slimmed down the front arm and I can pinch this waste by simply bringing that line down to deer in opening this line up to hear okay and it's significant isn't it strange in this shop here which is straight at the camera and then this shot here it looks like I've slimmed the whole thing but heaven I've only pinched in that little area the end that area there when we create space around the body it opens up and makes us look slimmer so when their arms or on the body were blocked and we look bigger than we are because that becomes self out to dimension is opposed to opening up space around the body that's why I need to teach you how to use arms and legs and fill the frame and bring the league's up and steady your posing and use one knee and put arms forward and create space around the body on all body types to lengthen length and lengthen dizzy and I want to talk about curves this is just one of those things I think people want to always talk about kids is such an interesting subject so maybe we can take one from the audience if there is one and we can go to yes your go ahead please yes I think for me the curves video was very important because I feel like you have a lot more to tackle with a client who comes in already um worried about that aspect of it and what I'm hoping to gain is just your confidence and how you when you're kind of barreling through because you know too d'oh I think that that makes them more confident and so I think seeing an action was really that like next step I need it to be like okay if I can if I can own it then they can own it yes so so I guess that's more state yeah question that's exactly right if you can earn it then they can too because it's the end of the day whatever they feel self conscious about whether it's the teeth a scar there body type the clothes whatever they feel self conscious about the second you stop taking control that comes forward okay that thing and it will be I've seen people crippled with self esteem crippled eighteen people whose bottom lips quiver when I photograph them they're so desperately uncomfortable being in front of the camera why of avia because they may be looked at my before and afters and they believed for a minute that I could capture that I could overcome that or they don't expect that they're going to feel like that until they have the camera tuned upon them and then their vulnerability comes forward so whatever it is we're there its way toward age or anything god I mean I was watching it and when you first started I was like all right let's see what she was going to do here even though you know in your head what what you are general foundation is going to be just seeing you put it together I think really just answered so much okay so really it was confidence right I know when I stand there I'm like forty five degrees lean your back against the wall pushed that right I'm against the wall good gil take your left hand slide it up your hip slide your elbow back okay what I need you to do right now is to push your chin lift up nice and tall and push your chin towards may now bring your chin down this way and I go and push the shoulder down right I pushed this shoulder down tuck the am against the wall and because I'm doing all of this confidently there listening to my direction and they're no longer worried about what how they look and then I go straight back to my camera and then I direct for expression once I'm they're like I don't look at somebody and go give me a beautiful smile with your eyes give me a beautiful smile with your eyes that's a go click I go like this sit the pose and then I go ice to me okay time little smile in your eyes could go hold it hold it I don't like the expression through the camera did you notice that I do not ask for an expression and then put my camera up so if people change their expression when you put the camera up there just defaulting back to self conscious so that's where you talk to them through the camera because that's when you say you re sit lift up tall valerie bring your chin towards may okay and chin this way a little bit more keep working that shoulder exactly as I just told them now give me that tiny little smile in the eyes and say I'm doing all of that through my camera and it's really really important that I am

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