Boudoir on the Edge

Lesson 2 of 10

Breakdown of Ewan Phelan's Boudoir Shots

 

Boudoir on the Edge

Lesson 2 of 10

Breakdown of Ewan Phelan's Boudoir Shots

 

Lesson Info

Breakdown of Ewan Phelan's Boudoir Shots

So what I'm going to do right now is I'm just gonna break down probably five or six shots for you guys about how I proposed it, what I was going for, what I was looking for in it. So for me little details are very important for me when I do shoots, I always want to show details of just give him more of a story essentially in this shot, the big thing I want to accentuate with her curves I wanted the feeling of her pulling out our clothes so that you would be reminded of that feeling of her maybe taking off her clothes, her hand in between your thigh there questions, you know, what's in the next scene sort of thing that's what I'm always trying to do, you know, he's tryingto make you think, okay, what aren't we seeing? What did the client get so to get this shot she's laying on her back? I've had her at first put her knees straight up in the air, pointer toes and then I had to drop her knees all the way to the side and push and popper, but as hard as she could on dh arch as much as she c...

ould she's even on the top of her head in this to get that much of an arch, then I just has her to put her thumb in her side there and then the thumb in the middle of her under a cz well and pushed down um, this is all shot with natural light. They'll be the same answer for every single one of my shots. It's all natural light. I never see only time I don't use natural latest when I do night shoots on and that's not very often eso everything's done with natural light, so, yeah, again, you can see the suggestion that I'm trying to create on you can see there is, you'll see when we do posing later it's from head to toe what we're trying, how I pose on dh that's I always get the question of how do you get your clients to do what they're doing? And the answer is, is that it's? Because of such detailed instruction? It doesn't seem weird when I asked them to do things so here's, another perfect example of really trying to suggest think this would be a perfect example of someone saying, how did you get your client to do this? Um, it's, because of the suggestion she's actually holding her underwear, but because of the angle that I'm shooting that you're questioning, where is her hand right now, the fact that I left the shadow part there. But if the shadow wasn't there, you would be seen something that you shouldn't be seen again that just invites the viewer in to think, oh, what aren't I seeing? What don't I see in the next one for this shot I've had arch up? You can see that she's actually on the top of her head. The reason for that was she couldn't get enough of the arch, so when they can't get enough of arch on their shoulders popping their head up even further and getting on the top of the head, although difficult gives that much better arch, I asked. We asked them to push their rib cage to the ceiling when they do this, rather than their chest out, because it just I wanted arch more than just the chest being out what this also love by having her head go on the top of her head, I asked her to breathe through her mouth. I do that a lot, it relaxes the jaw. It also gives the feeling of movement with the mouth, and it also just enhances the photo. You really think that you're seeing something you shouldn't be seen right now in actuality, it's just her holding her underwear on her arched up, uh, always asking to point the toes no matter what. Even if I'm not seen it in the image because it just helps left the legs and make the legs uh, look stronger eso when I go into any shoot, I don't approach it as what are the things I have to hide obviously that's on my mind, but if you go into a shoot and all you're thinking about is what I have to hide, then you're going to spend the whole time doing that and you never get to what am I actually trying to shoot? So for me, I look at a shoot and I look at everybody and iet's try and see what's beautiful about that person. What can I bring out about that person? I was anorexic in high school, four years of high school, I nothing but rice and one piece of pizza maybe four times a week when I met her and I was one hundred thirty pounds at this height and now weigh one hundred eighty pounds s o I understand it, I understand the body image issue, and I understand women not being secure in front of a camera so I can relate to that on dh, so for this, I really want to extend accentuate her curves, so I had her remove her underwear so that there wouldn't be any distraction from the curve of her butt outsider lift the shirt up higher um upper back so you get even more recurve and had her stand on your tiptoes she could be in heels but she didn't have heels on this point but either way to really just lift her butt up also had her hands come together instead of apart to take away the box he feel if you have them apart it's a much box your field and when you bring them together it kind of creates an a line for her a cz well you can see where the natural lights coming off of this on I had to look at the camera because I wanted because of the way she is this was shot in her home I wanted to be very inviting and I wanted it to sort of tell the story of like her husband's going to be looking at these photos so it's sort of inviting um feature of her looking at the camera like that s o I play with light a lot in our studio we have uh four windows they're on every side esso before if you look back on my work from years ago it's very bright because it was very brave in the studio when we moved in there uh in the last year or more I bought black oh trips and actually only opened one window at a time now s o this is only one window which is essentially a boat ah, foot above her and to the right of the screen. So in this shot again, it's, the how did you ask your clients to do this is because of a little details. A first I asked her to flip her hair. I really had to be careful of not letting the hair cast a huge shadow. So I needed to hurt a lift her chin, which was very hard because she's on her chest and briefs for a mouth again, giving that sort of illusion. There. All I asked her to do was put her arm under her body. So our army's actually bent a little bit and her hand is probably around her belly button. I kept on her chest so she could pop her hip more and push her button more. And because I used only a very small sliver of light, I was able to control it much better. And so all the light lands perfectly on just that part of her face and her lips and then air. But in the background, and that way, it draws the attention. I want the viewer. I always want to be pointing the viewer at what I want them to be looking at, I also close did a very close crop of this because I wanted you to that's all you could see, I didn't want to be distracted by anything else I wanted to be brought into this moment and her grabbing her hair. It really feels like you're seeing a moment here. Uh, some movement instead of just a pose. Uh, the last one I have here, uh, britt, uh, same thing with light that's, the exact same window that I'm using. I've just opened it up a little bit more. So the lights of a bit brighter in the background. I've also directed it right on her. I want to show a bit of a softness to it, but also show the sexiness of it. The hair flip kind of gives that bedhead sex hair look a cz well, she's not wearing any underwear. When I asked her to sit down, I always ask people to squat when they sit down. That way they get a bit more of a curve, and I still asked him to pop their butt and stick out their chest and shoulders back and down in any position just to bring that forward the no underwear thing. I do that a lot. I do it a lot more than not having a prawn. The reason for that is because think of, uh, lunch is very hard to get on, um I have to help every one of our clients put their lingerie on, uh, the turks of garter belt stockings, everything like that. Imagine you're a woman. You spent all that time and all that money on lingerie, and your husband comes home or partner, whoever it is, and and you're going to have sex, do you really want to take it all off? No, because expected to spend a lot of money, and you want to keep it on. So the no underwear thing is to sort of suggest. Ask the question again, I'm inviting the viewer in. Why isn't she wearing any underwear? And the fact that the straps were coming down and she sort of getting undressed again? It's, sort of what's going to be in the next scene.

Class Description

Join Ewan and Brianna Phelan for Boudoir on the Edge and learn about their unique approach to shooting boudoir photography.

Brianna and Ewan see creativity as a planned process rather than the result of spur of the moment inspiration. In this class, they’ll discuss how they apply this philosophy to their work and how it shapes the way Ewan shoots. The pair will also discuss how they’ve integrated their wedding business and boudoir shoots, while protecting the artistic integrity of their work. Ewan will examine a selection of images and explain how he came to that pose and what each element in the image does to promote what that photo is trying to say.

You will walk away from Boudoir on the Edge with a new appreciation for the art of boudoir and skills for integrating an artistic sensibility into your business.

Reviews

Hassan Hussein
 

This is an amazing class. The best I have seen so far on the art and business of boudoir photography. Brianna and Ewan covered very difficult subjects in this class in a very effective, professional, informative, and entertaining way. I loved how they addressed the human sexuality in the most beautiful way in relation to art of boudoir photography. It was fascinating to see how Ewan was able to get the models to pose into very sexy and beautiful poses by providing clear instructions in a very respectful manner. Brianna was very informative on how to run a successful boudoir business. I sincerely believe that both Ewan and Brianna shared many of the secrets of the trade that they learned over many years which made their boudoir business a success story.

Rick Steverson
 

This couple is awesome. I really enjoyed the intro into Ewan's posing techniques. To be honest I would have loved more. Please CL have them come back and continue this workshop. I appreciated the very clear directions to the models without being crass. I'm sure it comes with time, but his methodical tone and direction helped to (IMO) communicate his expertise and improves model/client confidence. Ewan and Brianna helped us to define not only our why, but the how. Very worthwhile to my wife and I for our boudoir photography. Much love Brianna and Ewan, and uh...sorry (lol).

a Creativelive Student
 

I bought this as an online course, and I was very pleased with it and felt like it was worth the investment. From reading other reviews, you can see that other students have their own opinions based upon their own expectations and interests, and my review is the same. I was more interested in the art of the photography and the posing of the models, and I was very pleased with that part and would have liked to have seen a little more of that and less of the business side. However, I thought the information on the business, marketing, contracts, legal etc. to be very informative and helpful if I wanted to do this commercially. I would recommend that they shorten the first lesson by editing some of their own personal journey and opinions, the latter appearing unnecessarily defensive. I thought one reviewer was unfairly critical of Ewan's "control". I appreciated his directness and instructions, and I think this reviewer may have reflected some of her own issues about either males or control issues. Overall, it was highly informative, and I highly recommend the course. Just go in knowing you're going to be exposed to the business side, as well as the creative side.