Editing and Q&A, Part 1


A Shoot with Sue


Lesson Info

Editing and Q&A, Part 1

Ok, so something I wanted to show you a sight came back I was talking about it this morning was something I found in kenya's shoots as I was preparing for this today I found those I was looking through kenna's photographs because as you know, I photographed kenna and we were both wrong kina wasn't wearing a white single or a purple single it can it was through your black single it and I'm going to explain why here and I couldn't even tell you what color who singler wass if you look at the monitor now I'm going to bring out the first eight images that I took of kenna when I photographed here when I photographed here we've been tired when we were a bit tired with it a whole week on creative life and the first image that I took of here I said her against the wall and I had a reflected there and I just took a photo off here the second time I took a photo of here I started to talk to her and guide her a little bit on here expressions I started to talk about changing your hands a little bit ...

I started to move around my angles and as I took these first eight shots and you have a look at them, you'll notice they're not very good shots at all in fact they've got to be the fake a shot of seeing of kenya thie idea you see is I always do this little bit of a warm up whenever I start photographing people and as they start to relax and look at the camera then something really beautiful comes forward and nobody can act I've never seen this so obvious is what keen is done right here with the shot so what I've done is I got to the stage here and she gave me a more natural smile and as you can see, you can see the brick wall you can see with her arms on her forearm looks big in the front nothing about that shot would make it into my final. But as I saw that smile I realized that she just started to relax into her expression. So what I did now was I moved him position and as soon as I moved her position it's a good distraction technique actually because everything changes she's starting to relax so I tuned her towards the light and as I did she's now looking straight down the barrel of the camera and now she's were about shot number nine so she started to relax right through her expression and what's coming forward now is all very beautiful. Every single shots I took from here on end is a really true, beautiful expression of kina now interestingly enough, at this stage you have stopped looking at what kina is wearing, you've stopped looking at oppose because you were looking so into her eyes and every one of those shots thieve actually stopped even looking at the composition of the image and so when people ask me all the time, what is that connection when somebody looks at you like that and you can capture that true expression on them, then that is what I talk about is being the one of the most beautiful things that you'll live to see when you photograph somebody and it kind of transcends the whole the notion that the post has to be perfect what happens is the connection through the eyes is so strong that every part of that takes over that shot so I just wanted to show you that because I'm going to go back and show you again from the start when I can appear this image here um this last one with the first image I took it's almost a different person and that is not what I would call a portrait that's just a photo that you would take of somebody on sunday barbecue you know, sitting around home so what I want you to do is really start working on bringing forward the difference between this and this and really start working on bringing that connection right through the camera because as soon as you get it it's just priceless and it's just so beautiful my pleasure so I just wanted to show that because everyone senior images on the creative live blogged and they've seen your images on facebook so I thought it was a really good example to show people cool so first off I've got my images loading um I've got my all my images here of christa s o just one answer some quick questions well that's loading up all right we have a civil camera settings ok? I always shoot on the same thing all my creative lives of the same my s o sittings always won sixty three twenty and six forty those to the best aye. So sittings for me they were based on my camera um I shoot at an order white balance waste I'm always around two point eight because I try and keep it nice shall I dipped the field and I never change out of that I'm toggling my focal point I'm shooting on the five team max three with the city five mil cause it's my absolutely favorite leans right now and I love it love love love it so they would have been lots of questions about that right always wait what we do have if you could explain for massive the media who I promised I would ask this question earlier today in your previous c l events you mentioned that you shoot that thirty five or your twenty four two one oh five but usually shoot between terrified of fifty many portrait photographers he's saying preferred the eighty five to one thirty five or even two hundred millimeter because its limbs the subject's features do you have tried these and do you see any advantages disadvantages or is it just started? I honestly think that the wide shot right in the center is more slimming so the thirty five for the twenty four one of five which is a kit leon's shot it at thirty five to fifty is the best ratio for that means in the twenty four twenty five was my favorite portrait lens for ever and ever and ever was the first lines of my studio and the only reason I went to the city five is cause it's one point four and at one point for better drop away four point out you know you have to have a higher higher so brings and morgaine so I really like the two point eight two point eight is dangerous fish eating portrait especially when your clients moving and you talk as much as me but when it's just the way this all right I'm going to keep asking questions until you tell me to stop sure alright question from the reminder when you were going over the looks with christa yes, the question was just suk over the looks that she planned out with all their clients. Yes yes, and I love to draw my shoots and I like to show my client it's really weird I started to do these stick figure drawings and my clients who especially clients who aren't very visual they loved it so much that they would actually, um get a big smile on their face whenever I would show them those images. So I realized that they really enjoy the idea that they were going to watch the shoot unfold and it gave me a visual also a lot of my photographers who are training in glamour are you using my posing cads and a lot of them say, do you think it's okay, if I bring my posing cards into the shoot and I always say well, instead of using my images because they might look at my images and go, well, I want that why don't you draw it up? Just you stick figures, really? Basic people get the idea really quickly and they didn't need it to be, you know, drawn really well, so just keep it real simple give them a visual, give yourself a visual and work through it. Even now, when I'm doing shoots, if I don't give myself a visual storyboard, I can get stuck um and miss something miss something really important a shot that's really important to me because I didn't follow that list it's almost like making an outline to planes. Yeah, exactly. Absolutely. Okay, question from older. Do you have music in the background while you're shooting? Usually aga I have music going all the time in the studio. I like tio darts around. I'd like to be silly. I like to sing and yeah, so I always have me is a kind always, always right I mean, it was so much like you listening to me, but it was so much fun to watch you laugh and be in your element and just really be able to see what it's like to be with you. They're a question from cosmo by see that most of your shots are low from below the models I hi, good christian let's look at the shoot and let's talk about angles and how I shot it because the best way for you to look at the show is to see it. There are two hundred and thirty images here. Wow. Okay, so over one hundred and twenty of those images are the two dancing sits and will eliminate those immediately because we were laughing, dancing in overshooting. Now I always overshoot when I do the dancing and laughing sequences because I'm always trying to just jag that perfect shot, everything else is slow and controlled, so if we bring up the if we bring out the key note, I'm going to take you through all of the images, and I'm going to put a delete mac, I'm just opened them on photo shop, okay, so monty is five, so I'm going to open them up and we can talk about each one and where you can see my post correct itself and where you can see the best expression. So we started off here. I said a straight down into cover girl, I like that little expression there, that's a little, but bitter in the sitting up position, but at the back of their hand is too close to the camera here. I'm studying to correct that a little bit. I like that expression different, like that shoulder forward. And there it is, there for me. So it took me four shots to get that right. Four shots for me to get the pose, right? I like the connection through there, and that would be my choice out of the three. So whenever I look at that quick sequence, I quickly just look at it in terms of how I corrected the pose. If she came up into the pose and this year's there a soon as I see that engage, I know I've got it, so from this position here, one I'm two two three and four now I didn't do a lot of changing in these positions one two and three so it which is odd because it's a waste of time so I'm always trying to get people to move around a little bit more so really all I'm looking for is her best expression and if I go back through then obviously I'm sitting quite comfortably in number two and the reason I choose number two over one is because I just like that little hint of a smile the chin is too far up in this image and I can see the inside of her thigh which I don't like so that's out for me straightaway I'm starting to come into the position here now what you just asked me about shooting below the eye line I want you to start looking at these images like you shot them see how low I am on her eye line the reason I am that low is because in order to get a fashion angle so that square fashion look you need to be shooting below the eye line okay, that is not a good thing when it comes to any girls with curves now you can see krista rhys slim and she's a beautiful body line but I'm going to use my cursor on the back of her arm I have sacrificed the back of her arm in order to get this shot so in order to shoot that low I have to then walked this arm in here now I knew I was gonna have to do that when I took the shot that's what you have to do in order to get on those lone model angles now if I was shooting a model who's you know, five foot eleven and probably one hundred eighteen pounds I wouldn't need to do that but I do need to do it for the shot I'm going to kick that shot anyway in favor of that because that is a beautiful smile she's a beautiful girl the shoulders working forward I've got a perfect angle there and I really like what's happening there so next one down um you cannot interrupt me kin or a few there's something that's pressing I sent her down I got it a tune back to me and I don't like that as she turned she sounded to lift your eyebrow up you remember our saying dot the eyebrow dropped the eyebrow she starting to drop it here but I still don't believe the pose I can't say hoping is I go down that I didn't get it uh I still don't believe it now I don't believe the expression that eyebrow is still up so right now I'm talking to her about correcting that pose I'm getting that eyebrow to come down that one was completely out of focus uh, they have focus casts. Css phyllis had asked, where do you set your focal point? Always on the I always on the I always on the eye and try and get it right. Um, you can't ever photo shop can't fix and out of focus shot, and it certainly can't fix an expression that abed expression. So you always gotta try for those two things, okay, here I am here. So if I go back up, see what's not working about that, she needs to come down. I needed to come up a little bit. She needed to drop your chin down. She needed to drop his shoulder down in lifted chin up. So it's, always constantly sitting up, I need to constantly change her position, okay? Don't like that standing toe like that now. So as I've corrected this pose, I'm now going for the hero because I don't just want to stop at this. I want to keep working here until I get it both ppos expression and light. Perfect. And I love that the case there. There it is. His smile is a lot better than the non smiling one. I would absolutely love it. She so cute. That's beautiful her arm looks fantastic from the side so is any minimal slimming she's left here I brought up again so I have stayed in this position in order to get a beautiful smile of here and their eyebrows come back up so I'll start correcting it and bringing her back into the pose as I keep shooting that's cute I'm going to save it I am because you're from craig hodge photography excuse me? Your clients always seem so receptive to your opposing directions how do you work with clients who feel uncomfortable in such a natural feeling poses and are constantly fighting against your poses with their body? You know what? It's really you've just got to keep them focused you got to keep them moving. You notice I never stopped talking and never stopped talking and I just keep working with them when somebody starts working against you and the post they just don't feel comfortable so all I want you to do is a really focus on just taking control of them because if somebody is being badly behaved in front of the cameras so they're not working, they're pose in autumn working with you they just don't quite believe you yet so you just gotta keep working with them and just take control of thumb I don't let them don't let them run alive, you just instantly pick it up, take control and start talking and fill that space, you give them five seconds to think about it, and there were a bit tio being uncomfortable in front of the camera again, and that is what daniella was asking about. What do you do when dealing with a very dominant client type kind of client during a shoot? Ok, so I'm quite a suited, but I try not to even dominate, although there are certain personality types that I will dominate. So obviously, you don't want to try and dominate somebody who's dominating you, you've got to go or my submissive, andi, just say, just keep talking to them and just keep reassuring them. And the best thing you can say to someone is not your gorgeous you're beautiful, but trust me, okay? Trust me, this is really working in lots of positive affirmations, real reaffirming, you know, if people needed reassurance, then give it to them. Um, you know, I do say, good girl a lot, you know? I don't I'm not all, sweetie, darling, gorge, gorge, gorge. I don't like that because it doesn't sound genuine to me, but I do say, good girl, which is kind of condescending in a way, because it's like a good girl, good girl, but the thing is, is everybody responds really well to it or I mean you don't have to go with good girl maybe I just say that I don't know it comes out of my mouth a lot like I am it's just you wouldn't be everybody yeah yes true true yeah so I guess that makes a difference right right so this was a question that several people had front j f noble is one during the first set of photos why no shoes on christa stilettos or high heels doesn't it help with the posture and posing it or just feeling like you're super vixen okay it does make you feel like a super vixen um and while I'm out doing that christian you can go back to the keynote because um I'm just learning that when your feet are in an extended position and your calf muscle is I'm bunched you are unable to move through your hips and then I don't get these beautiful lines which you can see here which gives me a good kick back and the kick back is what gives me the shape in the body and I really struggle with that and heels so it's really had to get movement through the hips and heels so I kicked them off immediately it doesn't interest me to be in shoes also I don't see them so a lot of girls will say to me when I say take your shoes off and they get all but they make me feel so sexy and I'm like well there's nothing really feeling that sixty about being photographed in the positions that I put you in it's usually you're in pain not feeling very sixty adore but you just have to trust me that I can see it see that's the key yeah the trusting you yes really it's okay because you've been photographed in it you know that it's about trust it is yeah and you know that it's definitely about you know how I make you feel once you want to connect and like thinking like you showed of me then you're no longer thinking you're just like we're doing you're doing yoga and you're no longer thinking you're just kind of in doing a zen mode but speaking of sexy lisa m had asked sue exudes a lot of sensuality does she think that that rubs off on clients and is it a part of why they can be so sensual in their photos? I'm more of a tough nerdy girl so I have trouble bringing that kind of central calm to a shoot how much do you think your own essence effects the photos? This is really really important and I'll come back to the camera for this I don't believe you give people a feeling of sexiness I think all of my posters if you listen to the voice off my chute so if you would just to hear my audio off me shooting krista you just hear this constant lift up, lift up, bring your chin forward. Bring your chin ford she's not looking at my face she's looking at my camera so I have a large black canon camera over my face there's nothing sexy about me when I've got a camera over my face she's not looking at my body she's not looking at my body language when I sit her body position um, I could do body positions, but I've had lots of photographer's work for me that aren't incredibly sensual by nature that still pose people the same way. It's such an interesting question because it's the same same argument would be a lot of people have said that they see me in my images, so you know, you see the photographer and the image is really interesting. I can't really think of another way to explain that I keep coming back to the cargo I said her in cava go and instantly she looked short in the neck, short on the nick and straightaway short in the arms. I started to lift her up through a pose and I like that. And then after I lift it up even further, she gave me a beautiful was master, I'll keep that because it's a cute smile remember I'm always shooting covergirl asymmetrically it's the only time the hands and faces are symmetrical and so I always shoot it a little asymmetry here in this position I knew that I've got a really good here really good here angle so like this I still don't believe this post summit number to afflict number three I don't believe that at all because it's what I call a did um did um did expression and as I worked through her expression is coming to play but her hands not the yet so we're change to am upset as it goes to a horizontal I like that that's worth saving everything above that I'm going to kick because it's cute but I don't want cute I want wow so I'm going to try and make that well that's cute I probably say that that's cute enough for me to make it last okay so now that I go into a horizontal position there I don't like it sounded really are into a horizontal cross I love that expression that to me is connectedness the shoulders come forward the bris line is perfect the here line is gorgeous and she's got a good connection through her eyes I really liked that little smirk that's beautiful I like that as well um so I'm gonna have to choose between that and I love that this girl has got a smile and I tell you what twenty three years of selling portrait so I've never seen a husband boyfriend or father by anything but a beautiful big smile the boys love smiling shots and they love boys have happy women that's my that's what I've decided I have a question for you on this image from book freeman who says is there a trick to getting dark hair to stand out on the dark background without getting lost? Yes good reflector and I think I only get separation there when there's a flash and the here goes to dark krista six you got quite light here also she's a good foot away from the backdrop and I just think that that wig's just jumps right out okay, I'm back to the back light we on yep I'm here I'm back to the back light what? I started shooting krista here one of the things is I'm shooting straight into that window now this happens to me a lot that's not a problem I can remove that cross and that to me is worth keeping um but I didn't like that and remember I always complain about posing listen to this if they're hand comes up it's got to be doing something if it's not doing something it's just a gratuitous hand it doesn't it's just there for no reason I don't mind that if I remove that camera in the top left corner I don't mind it but it's not well to me so when I get down to here you know that's nice but it's not making me go well I love the hand down much better in the hand is down and there it is for me much better there she's giving me a much more connected eyes she's pushed your chin forward the head's more engaged I love that that's cute but it's not with keeping she's got bigger smiles now love that this is her j lo shot crazy looks like jell o great the I can't sew as I go through this next little sequence I'm going to find the best off so you can watch that you wanna ask me something ask you that sure will question just backto one more technical question hopefully just love me photo and design what meeting were you using when you're shooting back lit like this okay I meet her through the camera over the eye and then I bumped my exposure up a stop to really expose for the face I know I'm shooting raw I know my camera can handle it so I know that if it does blow out a little in the background that my camera can handle there and I can save it with the recovery tool it is more important that I get a killer face shot then try and expose for the background if I'm in a situation where I don't have good diffuse light or I don't have a really good reflector I will bracket the shot and drop in the background if I have to in order to get it and when I'm shooting outside straight into the flare and just move around the flare as much as she can but always meet her right to the eye right to the face. Perfect. Thank you. A question from really is can you describe how to coach our clients to smile with our eyes? Yes. Um everything I just said to christa again if you were just to listen to my audio I want you to look at me through the camera I want you to relax your mouth lift up nice and tall, push your chin forward and down relax your mouth, eyes to may and just give me a tiny little tickle of a smile through the eyes. Good girl, that's it what happens is that and that's the same thing I say over and over again what happens is people go when I say, in fact, can you just come in to the camera? You are when I say to people, just give me a tiny little smile through the eyes. The first thing that happens is everybody looks out and then I say, just give me a tiny little smile and they all go to move them out and I say through the eyes and then they change it and they instantly engage their eyes it's the easiest thing to say if they go back to tension in the mouth where they hold their mouth and they try and smile through the eyes and you know it looks fake that's when you have to pull them up and say no come back, come back I want a real one just from having been photographed by you see, I think that was one of the hardest parts was feeling like when you when you brought attention tio relax your lips yes, and then I would feel like, oh, my lips are relaxed and so it's that trying teo move through that tension yes and get out of the brain where you're thinking about everything that you're doing to be honest with you everybody holds tension in the mouth so the second that you tell people to relax the mouth all the tension grows out of the face. What you have to make sure is that they don't over elect them out so that you get fish face where their mouths hanging open and their eyes are open and did and then you've just got that blank open expression so the idea is lips together relax in the mouth and if you all try that now it's time wherever you are in the world set up nice and tall, push your chin ford and down to the computer relax your shoulders ra lecture mouth lips together everybody looking down at your desk relax your mouth but keep your lips together and eyes up to me now nice work question from alan in london in london out alan in london many of your compositions look tightly cropped does this not negatively affect selling larger size full picture? I'm not trying to sell a larger size war pitches with glamour ellen from london I'm trying to sell a twenty page folio, a two thousand dollar nine at war frame and a sixteen twenty four so yes, there will be one sixteen twenty four because I'm a glamour photographer instead of a family portrait photographer very few of my clients buy anything bigger than a sixteen twenty for most of them like the close up shot of the face very similar to what tiffany's got on back wall behind me they kind of like that close up cover girl style and I actually find that at that time it's probably more important for me to sell more images then big images so if you were selling a family shot you team to sell a couple of really big shots but when you're selling glamour you team to sell a folio and the folio would really fits with the word glamour because it's quite magazine you know you want their whole folio look and so I kind of think it suits it and my goal is to sell it twenty page a box to every single woman that comes into my studio if I can sell that twenty page box to everyone I'm home and host I can't come back tio they came night because I just want to show you what I'm getting here you can see my back dots dropped away this is just a classic a classic um you know, I'm shooting off the hit I'm just trying to get that perfect laugh when we were giving her a little set a fist ran out of here sort of fun siri's I don't really like it to matter they think I'd keep it but it's going to go to around one anyway and you can see that as I'm choosing images I'm also just doing a quick correction um just to make sure that they're all consistent okay anything else you get the kinnah? Absolutely so a question from daisy photo from reno there seems to be a lot of time involved for these details in it shoot how many chutes do schedule in a week I used to do two a day and sixty eight a week yeah so wow yeah I know you nearly give me I used to do two a day six days a week with an average cell of eighteen hundred dollars I realized as I got better that if I slowed down if I did a bit of consultation if they were more committed to the shoot by bringing more, I could do one a day when I did one a day, my average doubled exactly doubled and what happened was I started to spend more time least cookie cutting more styling, more consultation, more asking people what it is that they really want and more delivering a good product so that comes with maybe confidence maturity on dh as soon as you get to that stage it's just so much better to, you know really deliver and take your time than it is to do anything else in this sequence here where I made her laugh there's not a lot here that's really with saving in terms of that, it wasn't really where I want to be and I think I got some bigger ones laughing in the pink, but we'll come back and have a look at this anyway, I've got this little tag here now again shooting below the eye line nice and flat to the wall side on chin working all the way to the shoulder, the chin and the shoulder connecting always how often during the time that you heard me shooting christa, did you hear me say tend to your shoulder child it's your attention to shoulder shoulder to chin just constantly reconnecting back to the front of the camera? This is where we had the blue screen happened to the backlight which I really love and I'm just going to go through here quite like that serious shot it's got something about it that's cute I love that I don't like that and not so much ah that's bitter but I would like a better expression it's a little dear it is okay so straight away you can see where I'm looking for that connection and that expression is a really important to me love that like that more yeah good perfect. So down to this one chose one, two, three, four and I can get down even fear that there not so much on the side on that so much on that one picked or got one I'll get rid of that don't need it. Okay, so next sequence from here we went up into this light I'm straight away exposed for the face shooting straight into the light see how bright it gets here this is where I'm using my recovery tool. Okay, um I'm a little bit naughty when it comes to shooting their back black because I know that I am shoot from the hip I am always said about seeing my exposure up a lot and relying on photoshopped to save me great advice so going back to the number of people that when you said you went from two to one client per day, yes somebody had asked I'm familiar with your business model of not charging for a sitting fee on ly makeup and hair I tried this and was told that I don't value my time therefore clients won't either what is your feet but who told you that client tell you a friend or another audition and um if I don't charge for my sitting but I averaged three and a half thousand dollars um is that working for me? I'm gonna go with you okay what I wanted when I first out of that allah can't maneuver uses package al I can't menu was less scary to me because I would tell people my images down at one eighty now with a higher average I tell people my image is my package is three thousand three hundred because I ve now gone past my ala carte menu and now I am selling the whole experience the k it takes a long time to get to a place where you feel comfortable with that it took me a really long time I don't know whether I'm just a slow study or whether I just needed confidence but it took me a long time to get to a place where I could tell people that my product was three and a half thousand dollars and that it's with every pini and that I would create an outfit for them that I would find a location that they wanted that I would bring a stylist in assistant and that I would provide them with twenty beautiful images and a folio in a war portrait. Um, as I've gotten older and more mature, I understand that it's probably better to sell on package than allah cat, but neither of them work if you don't educate your client anyway, neither either wick question from christine logan, I would love to know what you recommend a new photographer does tto learn which poses work best? Does she have? Do you have a flu opposing flow that you usually use? And I was excited when this question came up because I imagine that christine did not see the last creative live workshop with soup rice we're in, we go over, suze flow posing, and so maybe you could just say a little bit about that. Last time I was here, some crazy person craig's wanted you made me do a hundred poses in an hour, and I almost didn't make it. Um, it was the craziest thing I've ever done because I was sweating and breathing heavily and I watched the replay of it. I couldn't start laughing, it was really hard work, basically, the idea was that I learned to flow bet the beast it bite I could give you is all of my creative lives have been really strongly opposing, based and in order to get them right, you just have to work through each pose that I've showed you and then just work each post lift up nice and tall relax the shoulders, lengthen the body and you only get that with practice. So whether you get my posting cards whether you get the pdf download on the one hundred flow poses from the sick and creative life whether you get the first creative live and learn the roles chin shoulder hands hourglass asymmetry body language connection um it all wigs if you just keep practicing it and keep practicing it and keep fixing it that is the key. Yeah let me know if you want more questions you want to focus? I go for it. Okay? I'm okay if you look back at the keen eye. Okay? We're on the keynote just before you ask me another question right now I'm in the laughing shots now you can see they are pretty hitting miss when it comes to laughing I'm laughing she's laughing but I will say one thing in all the years that I've been selling portrait it's um they will buy it if it's a real laugh okay? And if I have to kick out sixty images to get a really true laugh and something that's really cute, I'll do it I'll do it in a happy because the average person will not crack up laughing for the camera they can't they're too self conscious and so you've got to really laugh with them, you've got to elevate them and you've got to just snap away and it's the only time the only time that I shoot multiple images without control where I'm just trying to freestyle and capture as much as I can so there's a big delete in this area I can't next question okay, a question from ant man six to one for do you have any advice for men that are trying to shoot glamour? Personally, I found it harder for us to get the female clients comfortable. I always feel like I'm walking on eggshells when giving compliments or posing because I'm worried that they're going to think that I'm hitting on them for you. I don't give compliments, I don't believe in giving compliments I can compliment them afterwards, but not while I'm shooting them when I'm shooting them I'm there to do a job I was taught by a man, I believe that any man can do this any good mail photography do this, um the hood or you need to probably get over is just your own hood or there uh, you don't need to feel self conscious, so you know you don't need thio feel like you're on eggshells and I just um just keep guiding them and take control of the posing in the shoot and you'll be fine it's just one of those things you just have to find your gramma confidence and then really just nail a couple of really beautiful shoots and the guilt will just trust you anyway and you know like I said if you if you don't want to be creepy just don't be creepy so I can imagine that at least you're being creepy that anybody would have a problem with you fantastic back to confidence like he said yep okay back to the relaxing of the mouth from spiffy picks the clients krista was tightening her mouth and you are telling her to relax the mouth is the goal to have the lips together or just slightly separated by some people look better with their mouth slightly separated and some people don't it's a really strange thing you have to watch what I call the natural mouth so watch with a net or mouth falls okay I want you to look at the screen now here's a perfect example I'm going and large this this is krystal sorry hang on this is crystal up close and what it is is when I first taken the shot she's got a relaxed mouth now you can see her mouth is open and she's also got shadows here the case say this adjusted again sorry she's got shadows here are all right see this little shadows under her mouth? They make it look like she's got cotton in there it's like marlon brando and then when her lip comes up and it connects and she has that little smirk and see her eyes going toe a false smiles then that is a beautiful expression for here that's a really comfortable mouth so when I look back here I don't think that that's an overly comfortable mouth and I feel like this more expression through her eyes so she looks better with him out together also have you noticed that in this image her eyes look droop here then this image because when she smiles, the eyes pick up on the outside which I think looks really good. Thank you for pointing that out. I didn't see that at first. Yeah, awesome. Okay, so in this position here I love this and then I got one, two, three and neither of those expressions are winning me over. Okay, I believe this one here tintin I believe that but I don't believe anything after that. I don't believe that she heard faces to tuned away her mouth is completely not giving me anything. Your eyes are not there and then her mouse there but your eyes and I don't like that fire shoulder who body angles turned off and now her angles completely off so she's come back there which I like and it's a beautiful expression and then say miss this one we've got nothing in the eyes were starting to connect through the eyes there but the mouth's not on that's a blank that's a blang love that okay, so there it is there go and that I was too straight didn't like it so c as you get into a post at correcting the post first if you're waiting for the expression there it is there a the arms to straight and the expression is not quite there I came in a little bit closer tried to ask for a better expression came in to the right I gotta blink got another blank what's and then she got a beautiful smile there and so that was way better, okay? And here we are here so this is again a lot of deletes in this one. What I can do is I can compass it this good, but I'm looking for my hero shot here and it's really important that I'm getting a perfect good like to the face that I'm getting a good body line that I'm getting a lot to flow in this kit and then I'm getting my hero shot not yet okay, so when she's first practicing her down thing remember she is not a dancer so it's gonna take her a while she's going to find a groove in there when she gets it I have no, I'm going to see it, so I'm still not there I do have to let them free starless it's so much easier if they can do it themselves without me trying to get them static still not there any more questions? Yeah question from alluring photo when again, in this scenario with the action free flow posing, do you focus on a specific point? Or do you use a server setting and a lot of people often struggle with the movement imposing? I can't got to go to the eyes the pose there focused point has to go to the eye, so whenever she was moving into her position, I would make her do a test. I would follow her with my camera and make sure the eyes were in focus always always to the eye fantastic love, kate a question from you see, I'm still below her eye line, some tombs of shooting position even when I was standing there, I'm a little bit shorter than here I was and be a feat um so I was in a slight crouch forward I'm always trying to shoot below the eye line here, you can see I'm standing up and shooting down on here and the dress is coming up too high don't like that at all that's when I come back down again okay soon as I come back down again I think in her up through the middle I will sacrifice a lower fashion angle for for a war do you ever use non natural light? The question was from solid esty how would you like these images? We didn't have a natural light available I've just ordered a dearing pianist ice light for the first time in twenty three years I'm going to try and shoot with um artificial line can you tell us what that if I'm geary's got this really need light it's like I guess it's like a stroke strober a torch and it's just to help fill light and I saw it in action and I thought, you know, maybe instead of not saying I don't even shoot with any artificial light, I should try it so I've just ordered one and I'm waiting for it to arrive I kind of hoped that it would arrive today for the shoot so that I could play with it um live and show you because I've never even even shot without official like before but it's such a good light, I think I can make it work, so I'm really intrigued to try well let's do a shoot with sue again next question from christine logan you use the term hero shot could you define what that means of what I deem is what I'm going to pick to sell, so I go for the hero shot I go for the one that I love and I'm like, I'm always going for that one that you know, it makes me go well, I set a goal for my photographers when I built the studio and I trained my photographers, I set a goal that and that all the images on the walls and the studio won't mind and in order teo qualify they all head to get an image on the wall and to get an image on the wall and had to be a wow shot like, wow, wow shot! And so I really wanted them to work towards going beyond just taking good photos and trying for that really awesome perfect shop that you could advertise with, you know, that killer shot that just becomes a signature shot like a lot of my images that I've had a lot of my images that I use in my advertising the card behind you kina is my business card and that business card they can't today the card from that period of time differently all real hero shots for may, they're just shot that with a beast of these chutes that all of those clients bought large that were really beautiful that they loved that I've been using in my advertising for the last six years yeah. So, um it got to try and get the best of your work and you were trying to every shade. Next question is from liberty edwards, do you do same day viewings or what is your time frame from a shoot viewing? Never do a same day viewing liberty because after people leave, I usually go and have lunch with them. And if they go and have lunch with them, then because I'm only doing one show today. That's, the honor. I have the doing. When she today that's what? I get to go and spend the day and have lunch and enjoy the company and also get to know them. And the more I bond with them, the more they become evangelists for me. And so I didn't like to go home and have just half an hour. Three alexei shin. And then I like to eat it. My images immediately. I like to get to know a shoot. Really? Well, I liketo work a shoot. I like to send the enticing shoot. Remember, I always talk about sending the entire shoot. Tio teo, um, my client. So after they're being photographed, and while that's saving, we can, uh, you can come back and we'll talk, okay, so after I photograph people, I then go home and I worked there images, and I take my favorite shot from the shoot or one of my favorite shots from the shoot, and I work it to perfection where I would order it. And then I seen that, um, usually to their iphone or email and that's when they email and facebook me and take me and on their images, so I like to see them immediately. I go to the client first, it never goes on to facebook until the client's seen it. Um, and once the client's seen it, they're free to shear it. There is before they've seen anything that gets them so excited, and by the time I used to go for a walk after that, by the time I come back to my office and to my computer, I've already received emails and facebook requests from the friends who have seen it on the facebook and it's the first way, I do not water mac that image. I know it's a big bone of contention for a lot of photographers, I feel like I don't need to I feel like I want to give something that doesn't have my name on it, because I want to feel like I'm not advertising, I want to feel like kin is advertising me, so to me, it's, more important when I give my image takina and she facebooked may that she shouted out soup rice photographed me and people came to me instead of me going I photographed kina crossman and sue bryce written on the bottom the bone of contention is that images get stalin and they get used and if you follow my block and facebook you know that my website's been ripped off lately I'm just happens to everybody that doesn't seem to make a difference it's just one of those things so it's a personal choice my personal choice I wanna be yeah I just don't want to look like I'm constantly advertising myself when I am yeah I want to look like you liked me so much that you wanted to shout my name tag me it just was it's just how I wanted to roll and it wicks and it did yeah and it's totally genuine and natural and so people lot of what you're doing yeah that'll come across it does and it really works and also when people like my work they go let's look at my images and they're so proud of them and I want them to be proud of them and I want them to show them to all of the friends so and I want to photograph all of their friends so really to know whether it's an energy thing or what it is but it works for may very important wits for may explain a question from fashion tv in singapore with the backlit images do you create sunflower and post ever or should we shoot for the florida okay always shoot for the flare you only get the flare when you're outside when you're inside you never get the flare your only get a back light white uh you do get that nice nice white haze and when you're in a photo shop you can enhance that hayes when you bring your recovery tool down um you can also put your fill light up and that can put a nice white light to the front of the face if you want to put in a flare that's fine there's some good fleas now um but I like this one here of tiffany she has all sun flare that's above her so she's against her bougainvillea she's against her backyard fence the sun is coming over its heading the top of a here wait no reflector here because it's such good lighten her yard we're getting a good bounce and the color coming down the side is like lake and I'm going to show you how I did it and I did it in post just the left hand side the flare around here was all natural and down the left hand side that beautiful orange is like that right? I'm saving my first round of images and then we'll have a look at my filly heroes from okay, um why don't I use light rain? Somebody asked that if I haven't seen it, I'm sure they will. Why don't really use light rain? Uh can I look you directly in the eye and tell you the truth? I don't know how to use light room um, I suffer from being a photographer of twenty three years every time I learn something new, I run with it for as long as I can and I don't like change for a match, so I struggled with the change to light room I never learnt it, I realize in my industry I've been left behind if free single photographer I know uses light room, but me, um I'm going to do the next creative life like room of class or by the baseline room class that creative lives done so anybody can recommend that on my facebook page, I would love to live in so I will buy it because I'm going to make a goal to learn light room while I'm on holiday this christmas because, yeah, it's bean made for photographers, it does things for the shop used to do contact sheets and things that it doesn't anymore they put it all on to light room, so um, but because I'm a photo shopper and I'm a bit stubborn, I got stuck on photo shop and I never evolved and if anything, if you know anything about me I'm always like, evolve or die so I have to embrace light room and when I do I'll shout it out like I could use light room now I let the last photographer in the world light room or die yeah every mode I supervise uh we've got some workshops for you yeah, I'm not for the shop I love the role window I'm comfortable in there and remember very ria for me to shoot over hundred images so I'm never processing lots of work I'm uneven processing uh a smaller matter what usually thirty? So fetish shop has always done me so proud sit for if it crashes randomly which does happen? All right, the question from christa our client's less likely to purchase prince when you share images on facebook my client seemed to lose interest in making a purchase after I sheriff he images online even though they expressed that they love them no because they get one image online, they don't get the other ones until they bought them so they get one hero image and you know what if they don't buy because they've got a two by three on facebook they would never gonna buy from you and they lied so if one is enough, then you know they just never gonna get it never gonna give it a question from cora your shoot with krista filled up an entire time slot. Can you please tell us how you would map up a double shoot in that same amount of time? Still fit in the two double shoots in one day before four p m yes, normally I would do and nine o'clock start in my hear here and make about us would have to be really a team. They don't have a choice. If you're going to shoot today, you get one hour in here and make up. I think even make about a study of the meat would like to go out to two hours. They can't it's just not it's, not feasible, it's like any winning photographer that is watching this, we'll tell you how annoying they get when they go to a winning and the make up artist is taking too long to do the bride and you're cutting into shooting time. I would rather you were gun ho don't talk, give me a good here and make up after one hour and give me time to shoot, then sit there and take too long. Only when I stretched it out too. One shoe today did I go to the one on the half shell makeover? For years I have written my makeup of us to keep me here make up in an hour. Your first client is really a team and it's a double shoot then you should have the matter thereby twelve it's easy to do a double shooting two hours because each client gets one hour seeking makeover is ten till eleven say again shoot is eleven to twelve you're sick and then you got time for lunch twelve thirty you're seeking clients come in seeking double clients come in at twelve thirty they get a double makeover from twelve thirty to one thirty one thirty two thirty you're out of there at three thirty nobody shoots after four well yeah that's how we did it for years, years and years and yes yeah and it worked you yeah question from the tea sha I would like to know if sue if you always choose the photographs for the folio box alone or with your client what happens if the client wants to see the whole shooting to choose more photographs would you see the entire shoot but without all the photo shop I've only eva showings I only ever show you the images sometimes I showed thirty five because I can't choose I let them choose the twenty I never choose them I let them choose I've never had a client asked me to see the whole shoot not the last three years and what was the other part of the question would I even show them and photoshopped images now? Never why would I do that I wouldn't even do that in fact, I don't know if I even see the sun creative life, but this is a true story. I was photographing this woman one day, and she said, whatever you have to do between taking my photograph and showing it to me don't ever show me and I was like, I wouldn't anyway, she's, like, I just thought I'd tell you that don't even show me and I'll be okay, she's just made me look hard and I was like, not a problem and she goes, you know, when you order a bacon burger, you don't want to see them kill the pig, and when she said it to me, I was like, that is the grossest and I was you have ever heard, but it is the truest one bacon, by the way, you lounges drink that's, right? I'm sure you were going wild, all right, let's. See, I would like to go back earlier in the day and asked more questions. A question from a couple of people have been asking jessica and shelly flanagan, how do you pose a curvy girl for whom chin forward and down still creates a double ten. Some people carry weight around their neck. Would you have them lying down facing the camera people were asking again about very short neck never lie down a curves never lie down a short nick, even even ever if anything we do is drop this front shoulder. So if the chin is coming forward and down and you still getting a short neck, drop the front shoulder down like this, so in all of my creative life, she'll see me constantly and all my curves posing, dropping the front shoulder, dot the front shoulder, you will lengthen the neck every time, every time, and there is no chin I haven't come across that doesn't do for down a question from digit lopez in florida. Have you ever had clients be very self conscious and be very critical of themselves during the reveal? Or if you feel that you didn't nail your images after the fact, I can't yes, I'm certainly I am guilty off not nailing it every time. Um, you know, it's just the way it is, you don't always get it, and I don't always get it. And so I would like to say that it's quite actually easy. Tio, um, dropped ball every now and then. The idea, of course, is that you've got to narrow it to get paid, so if you aren't naming it for any reason, then obviously you have to, um, look at what you're doing wrong. Um do a woman ever self conscious when they see the image? Is he kidding me? We photograph women for a living. I've just I've never actually seen any people beat themselves up the way that woman beat themselves up over how they look. It's crazy it's the craziest thing, but the cool thing is is when you get it right, then you get it right and you know you've got it right because they look beautiful, you know that they look beautiful, okay? Process of elimination. Remember what woman like woman wanna look younger, slimmer and gorgeous. Okay younger, slimmer in gorgeous, so process of elimination is easy. Do they look slim enough? Do they look good enough in what don't they like about themselves? So recently I love reading photographers on forums because it just annoys me so much, and I opened for him the other day and somebody was saying my client didn't like any of her images. I've never had that before, and a lot of people were commenting and but some people just don't like themselves. Some people just don't like themselves, and it really annoyed me because I felt like saying, well, hang on, yeah, there is a lot of things about me I don't like, but what I don't like is a bad photo of myself so if you want to sell images to me, take a good photo of me and if you don't want to sell images to me, take a crappy photo of me and I will buy nothing I felt like jumping on and saying to that photographer, why don't you post your images? And I'll tell you why she didn't like them because I thought I don't know why she didn't like them because I've seen it enough to know why people kick images out and if somebody kicks an image out because they think their arm looks fat and a woman will do that, she'll go I don't like that my arm looks fat and they'll say it like that, but they're not just saying, oh, I am looks chubby, you know they'll say, oh my, I'm looks fat and they hate it you know it's slim the arm before you show them if it's going to be the difference between selling a couple more hundred dollars and not work it out all right, keep going questions okay question from j f noble what is thie quote unquote square fashion look ah, yes it's where the chin is turned all the way around to the camera it's when the shoulders affleck to you not turned off to the side and it's when you're shooting on an angle straight back to the background so talk about this a lot and it's actually one of the hardest things to teach photographers is trying to get those angles right and I've I've slowly figured out how to do it um it's definitely not an easy thing to teach but the more you practice it I have to describe it like this no matter what for a fashion style shot but you have to shoot it slightly lower, which is not flattering to everybody so you do have to allow for slimming sometimes whenever the body turns off the face tunes back square with it and if they are forty five degrees that's fine and if they side on it's fine, but if their front on and they're slightly off on their angle, it doesn't look right then if your angle's off to the backdrop that looks wrong as well, so always low flat and square chin straight up and down face tuned directly to the camera and if you have a look at the composition of all my work, everybody is the same squareness it's out it's really hard to explain actually but I hope that explained it but hopes were there any of crystal like that and we she was slightly off I was constantly correcting her angle so I do constantly try to correct beforehand if I ever see any short angles like that I differently kicked them out quickly

Class Description

Be a fly on the wall for a REAL portrait session with legendary photographer Sue Bryce! This isn't a normal photography course; there are no students or chat hosts — just Sue, her assistants, and her client. From start to finish, Sue will walk you through getting your client into hair and makeup, creating and styling four different looks, shooting a variety of poses, choosing her 30 sellable images, and then post-processing the best photos. You'll get to see how Sue works when she's shooting photography uninterrupted. Truly a legend at work.


beth guterman

Sue always educates and inspires. This course, like most if not all of Sue's other incredible classes teaches us how to connect with the client to capture the most income and the best images for the client. A win win relationship!