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Demo Shoot with a Client

Lesson 3 from: Boudoir Photography

Rachel Stephens

Demo Shoot with a Client

Lesson 3 from: Boudoir Photography

Rachel Stephens

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Lesson Info

3. Demo Shoot with a Client

Lesson Info

Demo Shoot with a Client

so you can see she's contrary under the chin and under the cheekbone. And once I turned the lights on, it's gonna it's gonna blow all that out. So ah, lot of times, especially when you're smoothing skin and you can start to take away that makeup. And it's really important to put that contour back. And once we get to the the retouching post processing segment, I'll be showing I'll be demonstrating this real time what I'm talking about. But if you sit and just watch how the makeup artist puts the makeup on, then you're getting an idea of all the different where the shadows are supposed to be. And in my actions, I do have a makeup kit, so you can just re apply that makeup very easily and put those contours back in. Um, you do? If you do sit and watch you just you do want to kind of, like, very lightly joke around and be like I'm not just staring at you all creepy. I'm and let them know what you're doing and why you're sitting there watching that could make people uncomfortable. You always...

wanna, um, remind yourself that while this is what you do. This is like a totally first experience. First time experience for the lady that you're with. So you want to make sure that whatever you're doing, they're comfortable. We close. Yeah. Sweet. You are. Um, Rachel, you talked. You talked earlier about working with makeup artists and taking them with you to location. How do you go about finding makeup artist to work with? Okay, um, you can look on model Mayhem is a great resource. Also Google of fashion or wedding photographers. I mean, of wedding makeup artists. And the reason I like that is because they are comfortable with working with real women, and they're also comfortable with working quickly and efficiently. You get people working that have fashion experience A lot of time. It was make up. Changes were really fast. And they have. They know they have the kit foundation for photo shoots. Really theater makeup. It's not like your normal foundation that you'd wear every day. So you have someone that is that has their kit already ready for photo shoots, but also has that experience with regular women. So I really like having that balance of experience with a makeup artist. Great Thank you. So we're going to get started in just a minute here, So I'm just going Teoh discuss really quickly. What? Ideo. Since, um, I just meet a client for the first time at their shoot, and they will be done with hair and makeup. They come into me and I give them one minute client rant. So they get Teoh. Just get it all out And you know when you're nervous and you're holding all that stuff like I don't like my stomach or this is all stuff you're holding in your head. So I'm like, OK, you can get it out. You got one minute. You know, I like my thighs. I don't like this, and but about a lot of times, their story will kind of start to come out. So I'm mentally noting the kinds of things that I can bring in to connect with them through their session on as faras. What their instant, where their insecurity lies with their body. I know that. Like, say, they don't like their belly than I know in with lighting and posing that I'm gonna want Teoh downplay those areas with blur shadow those kind of things so those are all little little techniques that I use to kind of save myself in post. And it also provides the client opportunity to get all that negative stuff out. And there's no more self deprecating allowed. So at that point were like, Okay, now it's all about empowerment. Now, it's all about feeling good. So, you know, if they do kind of like, go back to that. I don't like this. I'm like, we're not doing that. We're done with that. So then that way you're driving the session in a positive way, and you're keeping that empowering connection. Is there anything? Now? She's looking great. Perfect. Thank you. And you're all ready to go. So sweet. Okay, so what? Me? All right. I grabbed my camera real quick. So are we gonna Are we gonna have Jenny do her one minute rant? Yes. So let's get rid of your stool. Their top up. Yeah. Okay. So, usually what I'll do is all. Ask a client why they're here. So you here for a significant other for yourself For both and kind of here for both, Not I've done this before. It's kind of a documentary in a way you start out when I was 20 something or other and go through that progression of pictures. So you kind of have a documentary of your aging process. Okay, um, and see all the things that have changed in your life and kind of pinpoint. Okay, at this point in my life, I was doing this. This point of my life was doing that. That was part of the celebration celebration of me. Nice. Perfect. So let's do your your client rant. Well, five years ago, I was about £60.70 pounds lighter. Five years have gone by and there have been a lot of upheaval and changes and things that happened in my AL. I'm £70 heavier. So it's on my on my brain. It's something I want to get rid of but haven't gotten rid of yet. And so So what are the areas that your most sensitive about? Mostly the front, the ceramic, you know? Okay, area. OK, so that's kind of about the most. Okay, if I lose that, £ have a great wardrobe in my closet. Perfect. But that's my sense. That area, okay. And what are we wearing under the road. Um, I have on a person like a skirt with Carter of new stockings. Panties in the matching bra that says that open right here. It is open right here cause I'm trying to conquer fear. Okay, Good, good. Awesome. Perfect. Okay, well, let's get started. So we get my light and you'll You'll run into that where a client will say that she's sensitive about her midsection, but yet she'll wear, um, mit midsection revealing outfit. So I know that I typically won't shoot her in her in that area is just standing forward. So if she has a robe or something, we'll start with the robe. So let's go ahead and on, do the robe. And does that come all the way off this this thing? So this is time? Yeah. Let's just pull this all together. Thank you. Just That's fine. That's good. No, not yet. So what I what I dio when I'm starting client. Um, when you're connecting with a client, um, it's all about power posing. So I watched this amazing Ted talk about power posing, and I do it myself. I tend to kind of come in like this, you know, large breasted women tend to do that. We kind of try to hide a little bit. And I was watching this Ted talk and she was talking about When you're hunched in like this, you're posture is is presenting out to the world like go away weakness, a lack of confidence. So what I like to dio, especially when a client's nervous and they're coming in, They're they don't really know what to dio. We'll have, and I always have the mirror me. So I'm going to show them the pose I want to dio. So just go ahead and move these cords real quick. Thank you. And I apologize. I'm tethered and I'm not usually tether, so I might trip my toe. That's okay, because then you get great laughing shots. Okay, Someone have you stand right over here and I'm just going to stop right there. And we're just gonna kind of angle this way so they can see both of us. Um, so we're gonna do is you put your hand on top of the road and then here like this. Your feet out like that, Your roll your shoulders back and down and you're stretching out your head up and bring your chin forward like this. So what we're doing right now is I'm centering myself in a power pose, and I'm grounding myself in confidence. And I'm putting my client in the same power pose and she were grounding her and confident in her confidence. She doesn't know it, but this is a reciprocal energy that you're now showing. Even if you're like you know, you're starting out your you're not completely confident with your skill or technique or or whatnot. Maybe you're just having a hard time connecting with that particular client. If you're a male and you're afraid that you know you don't want to be like that creepy male photographer, it's just so important to know that the energy that you share is the energy that they're going to receive. So you put yourself into that confident power position, and that's where you're going to start. That's the energy that you guys are going into the session with. And that's what you want to keep can where you want to keep the connection, all right? Of course. I was right in front of my light. What have you to take a one step this way. So I shoot wide open. This is a 50 millimeter, 1. l. I'm at 1.2. Have you bring your shoulder in this way a little bit. You're gonna bring your chin towards that shoulder. There it is. So I keep my heart, my shutter speed really high. Here we go. Tilt your head this way a little bit. Let's go ahead and move that hair right here. Beautiful. Okay. So I'm gonna have you, Neil for me. Okay? Do you have issues with your knees? No. It's just gonna be getting back. I hope you and turn your body this way towards me. Come this way. A little bit more. So your needs are going to be a part. Your feet are gonna be together. Sony's apart a little more. There you go. Put your hands on in front of your thighs and this hand here, you're gonna slide it in This way. You turn your head this way right there. Hold that for me. So this is a great, um, a little dirty, but I call it my p O V shot. And this'll is a great pose for people that do have those sensitivities about their midsection. And I'm all about connecting with the eyes when I shoot. I'm all about making the eyes. The first thing that you notice about an image and because I'm shooting white open, we have that beautiful blur that booking, which I love, that word inside a lot. Um, I call it creating a cream poetry in an image. I think that when you use blur, it can be very poetic. And it also helps you, um, obstruct the areas that your client maybe sensitive about Perfect. Okay, so let's pull the rope off the shoulders, but keep it at the elbows and you're gonna bring the knees apart more. There you go. And we're gonna come down like this right there until your head this way a little. So people always ask how how to shoot curvy women, and that kind of always drives me crazy. I just I shoot everybody the same way I feel like women are the women and shoot them all the same. Um, if you have a woman who's curvy, think people, uh, make the mistake of thinking that they want to look super, super skinny, and I what we want to do is portrait photographers is want to capture the person. It's not about creating something that's a fantasy. It's about really making them shine. Beautiful. Okay. Do you help up? Yep. They are not made for walking. Okay, so we're going to kind of just keeping We're gonna keep the robot just a little bit more. Kind of, like, off the shoulders a little bit. Have you lay in on your side on the couch. So I know that when I'm shooting, I've got a mental shot list in my head. I know that I'm gonna capture standing poses. I'm gonna capture laying down poses, and I'm gonna capture sitting or kneeling poses and head shots. So you want to make sure that you get a nice variety? I don't always do all the poses with all the outfits. Sometimes I save poses for the different outfits change. So let's come up a little higher on that elbow. There you go. You're gonna push your your but back towards the back of the couch as far as it'll go. Perfect. And I like the way that the top leg is stretched out. So the bottom need I like the way it's bent. Just want you to bring back that top foot just a little. Perfect. Keep those toys pointed. You're gonna engage those toes. Now, what that's going to do, it's gonna engage the muscles all the way up your leg. So if you anything hitches, let me know and we'll pause the bottom knee. I want you just to kind of bring it up towards the ceiling a little bit. Here you go. So this is a really uncomfortable posed for the client. So you want to make sure if they're having any issues if they start looking like it hurts. A lot of people have back issues or any issues. You want to make sure that your community communicating with your client no shot is worth anybody being injured. Let's bring this elbow out just a little bit more, and I'm just looking for whenever. Before you take the picture. I'm always looking for tags that are sticking out, or if the wardrobe is is turns. You see, like the inside or something, spring us in a little bit. Sorry, There we go. Perfect. I kind of want this off the shoulder just a little and If you're a male photographer, you can give your client the opportunity to, like, have a female makeup artist in the room. Or maybe bring a friend or something. But there's no way that you can get through a session and not touch in some way. You gotta fix the wardrobe. You got to do something. Just let them know you're You're talking to them as you go. Okay? I'm gonna go ahead and I'm gonna before you're doing, I'm gonna go ahead and I'm gonna move this off your shoulder. I'm gonna go ahead and do this. Are you comfortable with that as a woman? It's true. We do have that, um, we are. We do have that opportunity to not have to, you know, weaken touch first. If you're a male photographer, you definitely want to talk and let them know first before you touch anything. Are you okay? All right. So push it forward like this. There you go. Stretch the neck out. Turn your chin. This way. We're not bombing shoulder and just a little bit. Lift the chin up this way, Little So when I'm shooting, I'm also shooting with a book in mind books are very, very popular with boudoir photography. So I want to make sure that I have enough space on the outside to be able to crop for a book. Beautiful. And then once you're once you have the client in the position, this is another reason why I absolutely love continuous, Like, you can see real time. What's happening that's gonna bring the light around, get a little bit different effect. So you can see when I move it here. Now she's got a heavier shadow under her chin. I just want you to gaze this way for me right about here. Perfect. Stretch your neck out for me part your lips. Beautiful. Bring that knee up. As to me, gorgeous. Okay. You ready to lose the robe? Okay. Moment of truth. Okay, So I'm just going to check to make sure tags aren't sticking out to make sure that this drop is not twisted, which is a pain and photo shop. And people always want you to fix it. You could just fix that photo shop. Right? Okay, So we're gonna have you lay on the couch and gonna be laying on your back. Okay, So we're gonna have your head here. Your head is always were under the light. Okay, so your head is gonna be about right here and in your feet are gonna go up on the back of the couch. So your body is kind of an angles of this is your head And is your legs be like this perfect Going to stretch out this leg and this one's gonna bend. I want to be on your toes so you don't want the hell pushing into the couch. And what? Your title in the same and your Bring your knee this waste a little. It's almost like conducting music. You know, you don't have to always touch. You can just use your hands and they'll they'll move. I'm just gonna fix this part here. So you want the tattoo to show? Yes. And sometimes you'll get client that has tattoos that they hate them. And this is you know, you just always ask because then they'll want you to remove it, especially if it's in a weird position, like underneath a Gardere. Then you're gonna have them put their hand over it. This is going to save you time. I really like the look of like a mermaid underwater where the hairs like flowing around the head So I always like toe play with the hair and kind of get it flowing You have that cool texture going on Push your shoulders down this way Stretcher Fit your neck out This way Turn your head this way for me There you go. And you can keep that hand here but this Hey, let's put here and you're gonna arch up. So, like, but down boobs up there it is perfect, you know, like we do. So, Rachel, quick question. From the chat room, we've got Wehrli girl photography who says I'm honestly very confused Why she waits until the photo shoot to get to know why your client is there and what she's most sensitive about. So the question is, is this representative of how an actual shoot with U goes? If you just come in, you just start working. Yep. You don't, like, have a sit down conversation. This is This is how you do it? Yeah, for me, just the way that I work. I get very passionate and connected and I get very excited. I like t shoot organically if we have already had the conversation, and then we need, you know, a week or two later than it's like. She may not be sharing that same energy and that emotion with me and for me capturing that has always worked out really well. I find that clients, when they get their proofs, they really love the fact that I really capture who they are, you know? So I don't give them that opportunity to prepare in any way. And do you think that vulnerability is kind of what allows you to draw that out? Then? Absolutely. They haven't talked to you yet. They're still in that very vulnerable state. Absolutely, absolutely. And I like that they don't know what to expect, because then I'm working completely raw. I personally like that. I enjoy that challenge. It may not work for some people, and I, you know, respect that as well. But you have to find what works for you and then create your brand around that because, you know, once you once you set away toe work, it's hard to go back and change it, you know? So find what what you're feeling. You feel it here for me. I get very excited with the process and that that connection and sharing that story with a client. So I like doing it right. Then. That's how I personally do it. And Jenny, just before you get started. Lots of love for you in the chat room. Everyone's a big fan. So you have a lot of supporters out there. Okay, so we're gonna arch up a little. There you go. We're gonna push the shoulders down when you bring the chin back. There it is right there. Beautiful. So sometimes you can see I usually shoot one light so you can see how she's really well lit here. And then the legs kind of go off into a shadow. Sometimes you might have, like, a window back here. You can just open the blind ups. You can get some of that sidelight in. I personally like the vignette look, and I know that if I wanted to bring more light onto her legs, I could do it light room. So I don't really freak out about that stuff. You also could get a whiteboard or reflector and prop it up. Well, um, I don't think that you need a whole lot of lights. I think one light is a really easy, simple set up, and it keeps things. The less you have to mess around with, the more you can focus on your client. Beautiful. Hold that. Have you the hand that's here on have you bring it out? So you can just kind of with these two fingers here, kind of like ballerina fingers. You're gonna pull that strapped on your shoulder, Not the from these two up here from I found this. Top your Children and then bring it down this way, this way off your shoulder. This way. And let's relax the hand down. So we're not like this. We like that. Perfect. Lift the chin towards the light. Beautiful. So even though her midsection is, um, revealed right now, I know that the pose that I have her in, I can easily, um it doesn't look that right in my camera. I can I know that the way that I have her positioned, I know that the background that's gonna be an easy edit for me. Just to kind of bring that down a little bit and manipulated in photo shop. Lift your chin for me I'm gonna have you bring your arms like this and your elbows down in front of your breasts like this. You're gonna cut your face like that when your elbows together just a little Perfect. Your arch back. Bring your chin from in front of your hands. So you were like this right now we want to come out like that. Perfect. Your stagger the hands. And I do always get in a situation where I'm fighting for position with my light. It's a love hate relationship Lift your chin, Bring it when you're face to me But have you scooch down this way? Just a little bit whole body Because that's easy, right? All right, again with hands and bring the elbows in towards each other. Little perfect basis. Gorgeous. Hold that for me. Beautiful. So normally I shoot super, super fast. I'm much unethical science nervous. I know, like with my 1st 2030 shots can be thorough. Always just a matter of getting them used to that sound getting used to You know, that the cameras being the second pictures and then you're just talking You're talking and I'm super bossy. I'm like getting him into poses. Talking, talking, talking. So boyfriend, husband, husband, new husband. Congratulations. So, is he like leg man? Boob man all around, Human tissue man. Got it. So that's a good thing, Teoh to know. So then you get a couple images where you know that it's gonna be something that they both love. You know, you don't ever want to do a shoot and then have the clank. Oh, well, my husband really loves my legs, but you didn't really get anything that focuses on my legs. And then it opens up the conversation about, you know, you can start talking about Thea the relationship and when you got married and how'd you meet and all this? Okay, so let's have you go on your belly. You ready to sass it up? Okay, so I'm just gonna adjust the bottom here. So what I'm gonna do, because I know that her dude loves her. But I'm gonna make sure that we have a peek. I'm just gonna just this just cause it's buckling a little bit. Is he watching? I think so. Hi, honey. All right. So you can see with the one light you can you can review now I have the light all the way down. So it's really just about repositioning it, moving it. You don't need that other light. Let's bring the feet up point the toes. Both point them up. There you go. And let's not cross the ankles because then I see the bottom of your shoe. So let's staggering like this. Let's switch the other way. There you go. Perfect. We're gonna bring your your head away from your shoulders. Keep the tilt Tilt your face towards me again. I love that. Turn your face towards me. No more. Little more. Let's relax the hands down. Don't move. Beautiful. So you can tell now she's feeling it. Oh, yeah, gorgeous. I'm just gonna move your hair a little bit. Kind of like ridden, hard put away wet Look, I think way I tend to be a little dirtier when I'm interacting with my clients. But since we're a lot live, I'm having Teoh really tone myself down, which is hilarious because you're going to just be yourself like gorgeous. Beautiful. Can I get the reflector real quick? Going, Rachel, do you use assistance while you are unset? Sweet D s. I have a great assistant and find it's much easier to work when she's moving hair, adjusting the outfit before I have to stop what I'm doing to ask her. I did not work with assistance and the reason for that have tried before. The reason for that is because having that second person in the room, in my experience for me is a distraction, and it takes away from my ability to really connect with my client. It's also another reason why I don't allow them to bring a friend so no one sits in the room with me. If I'm shooting, the only away I ever allow that is if I'm just shooting a couple and then I have the guy in the background were kind of using him as a problem because it's all about the ladies to look right at me. So if you're not familiar with using reflectors, really, my main purpose of using them and I like to throw in a little bit more catch light in the eye and you can create it digitally. But I like to try to get everything is a panic like canon camera. Um, so you just bring that you've got the cash light from the light, and then you bring that secondary count, catch light in and just really make the I've come alive. You're being so patient. One doing it. One talking to them. Thank you. And yes, it's much easier to have someone sitting here hoping it for you. Beautiful. They're gonna look that way over your shoulder. Yo. Yeah. Keep your head where it is. That look at me. Beautiful. Hold that part. The lips. All right. Sorry. So you can hot, but for me growing. So what I'm gonna have you do is I'm gonna have you kneel right here and you're gonna face your body in. So because I know that her hubby loves her backside, I'm going to get some shots that showcase it stuck. You feeling it? Yeah. Postings hard. Well, it's interesting, Rachel, because the enthusiast in the chat room says the model is becoming more comfortable and getting issues, and she's really beautiful. So it's great. Teoh, be ableto watch. You just forget about us. Just see that connection and how you're connecting with her. Normally, when I'm shooting, I obviously I'm not turning around talking anyone. So normally there's a lot of laughter and just do that. Forget about has just signora. Okay. All right. So let's have your hand. You're gonna come down like this, You put your bear your weight on your hands. There you go. And that's fine. Just the mere Ben that elbow back this little brings. Yes. Perfect. So when you when you do the pose yourself and have them mirror you its way, each of them they turn your chin to the left, turn to the right, you know, because it's obviously opposite side, And then they're gonna be like, I'm not doing it right. And then it breaks the connection, and it gets them into that situation when they're feeling like I'm not doing what she wants or these air going to suck. So you just want to make sure that you do it for them first. I have the problem of holding the pose when I shoot. So I'm like that weirdo. That's like this. What? I'm shooting. Just probably why I have hurt my back, Gorgeous. I'm gonna have you kind of you have the hip this way. This could have you rotate a little bit more like that and push back until your head back. Like this. Eyes to me. Oh, yeah. Beautiful. Kind of shake your head back like your hair. There it is. Uh huh. Naughty. That's like the great irony of my life is my work is so graceful, but I'm like a Keystone Kop constantly injuring myself and knocking things over. Are you leaking? Uh, yeah. Okay. So just remember, I'm digital issue fast blink. It's OK to blink, so sometimes you'll get clients that there I start to water. So if you're doing a schedule like me where I stagger, you don't always need the makeup. Ours to come out and fix it. Just grab a tissue, wrap it around your some, and then just hold it there. Have them blank a couple times, and usually that takes care of it. But sometimes they get it just keeps going, and you'll have to get to make. But makeup artists give them a break just for a couple minutes. Turn the light off. Let their I relax. Some people get light sensitive. Is this 1000 wants? It's a very, very bright light. Okay, So we're gonna have you bring your hair forward like this and What you want to do is you want to keep that arch, That girl Wait around. This is where we should say hi, honey. Yes. This the fan plugged in is a fan plugged in. I don't have the luxury of traveling with a fan. So when I saw one here yesterday was like, who? Hair? He found it. Could I get a tissue, please? Thank you. Look that way. Blink hard. You make. How's it going? Okay. Thank you. All right. I'm gonna have a little fun with the hair fan here. Sometimes when I want to get, um, hair blowing, I have my reflector and all Kind of, like put it on my foot and then start to do this while I'm shooting. It works, but it's not ideal If there's a fan handy. It's a lean in like this for me. So boobs forward booty back. And it's great if you do have a fan too, because it's just you get that Fanned the hair, start blowing. This is, like, sexy times, You know? They're feeling it. Check it in. I looked at your lies to me. Shake it down. Lifted chin. Nice. Long that turned out this way. Lift, beautiful. So don't normally do is I'll go all the way around. And with the light, you'll get some kind of more fine art styled ones because the lights on this side, if you're shooting on that side, you'll get more shadow on the side, which could be a lot of fun without Children. And for these, I might even grab my other lens, My 100 millimeter and she just a couple portrait's real quick. But for the sake of time, we're gonna go ahead and hop on the bed. You cool that So I shouldn't implied nudes last. And the reason I do that is because, first of all, when you're getting a client to do her power, pose it, be a little weird, and she's naked to be doing power posing. So we get. I like to get all the like nervousness and awkwardness done in the front end with clothes, and then I'll have them go into a second outfit, and by then they're they're warmed up there, ready to go. We do the second outfit and then we hit the news. By the time we do the implied nudes, it's interesting because you know, when you have when you're self conscious and you know that you could be put in a more uncomfortable position than being naked and then a camera on you in front with a stranger. But it's interesting how people just completely wants the clothes come off the defense's melt away, too, and they're just really able to share. I think the most here's I ever see are from shots that I showed them when they're on the bed, wrapped in a sheet. Beautiful these air So great so far I love seeing this. I love seeing the connection I love just I was just lean over to kind of just looking at the monitored, just being amazed it at the beauty of them. Sing. You have a question here. Have you experienced where a client says they want to be natural and don't want any makeup? Um, not any makeup, but yes. And we get the natural look requested a lot, and I think that you really need a seasoned, very talented makeup artists to pull off natural makeup and people want natural makeup. It's actually quite a bit of makeup because you've got to put the foundation on. Then you have to match the colors to make it. You can't just have foundation face, you know. Then you got dry lips and you know you want the eyes to come out, so I always have my clients with strip false eyelashes on. I like the strip ones, not the individual way. Have a selection they can choose from, so they do have the natural kind. It just opens up the I, even if they want, like the natural look I require that they wear unless they have eyelash extensions. But it's something that I require my clients to wear, and they always end up loving it. So that's actually a great leading into the next question from Casey Que photo. Which is, Does Rachel have any say over how she wants the makeup done? Or does she leave the look up to what the client wants? And to convey that to the makeup artist, I let, um, the clients choose what they want. I have a, um, makeup looks page that I send out after they book, so they have, like the top four or five looks that are requested, like glamour natural pin up the Bardo look, so most the time people kind of want a combination of them. But the purpose for it is to have a reference guide so that the client can convey what she wants visually, to the makeup artists to make sure that she's nothing gets lost in translation. Great question. Comment coming in from D. J. Rachel, who says, I can imagine that some clients get very emotional during their rant session, especially when the real story starts to emerge. They're already in makeup. Is it a major disruption to have the makeup redone? Or do you see that as adding to the experience and helping them diffuse that vulnerability? You mean if they have a second look, or if they have to have a touch up, they Yeah, they cry. They if. What do you incorporate that into the shoot? Or infinitely, Just I love I love capturing, crying pictures because usually they're crying, but they're smiling, and it's a very vulnerable expression that they're sharing on gun. Of course, I'll joke around like no more crying. My makeup artist will kill us, you know, I'll make a joke about it. We'll have the makeup has come out and touch your upper quick. And as she's getting touched up, I might take some shots of her, you know, having her makeup touched up. Just so it kind of keeps the the whole I'm being. I'm in a photo shoot, and it's keeping me involved in it as well, even though I mostly will trash those pictures. Question from French Kiss Photo How do you handle the marks caused by the outfits you'd in the news last? I am shooting two outfits and an implied nude set in 40 minutes. So a client, when she's in hair and makeup, we have her usually like where loose fitting clothing unbutton her pants. Or she's wearing jeans, take the shoes and socks off, take the bra off and have, like a loose fitting shirt. And so but the time that she has her more drove on. It's really not going to leave the impressions too much, but it's a quick fix and photo shop, and I can show you guys that later. Fantastic. Thank you. Yeah, that's actually a good reminder that we actually in the next segment believe will be covering photo shopped for what she would do for these pictures. So you get to see those two? Yeah, we have a question from Eva and the studio audience. And the thing is, what you money when the people bring underwear is no suitable for them. Oh, yeah. Um, I have people bring several things, and what I always tell them is where what you love on the most. And that's what will start in. People always bring stuff that's like, I love this. I love it. I don't really like this. They always have, like that one thing they don't really like. But I will say if they want, I'll sit and I'll help style their outfits with, um But it's always like I really love the way this looks like. So those are the things that I'm going to go Teoh over. Like what? My color preferences or what? Not. All right, we've got We've got John Cornyn cello, and my question kind of goes the makeup to the photo shop. Do you have the makeup artist kind of blend into the rest of the body? Do you do body makeup to where do you do most of the touch up for the body and blemishes and inconsistencies later in photo shop, like a Rose Atia or yeah, people's bodies tend to be lighter than their faces to Oh, I see what you mean. Yeah. Yeah. And I think a lot of that is because women we moisturize and we some block, So we sunblock and her hands, and that's it. But her hands are a little lighter, and then everything gets a little dirty. You try to blend that down or do you like that? I don't have the makeup artists do it. I know if they have, like, um and if they if they ask for it. But I know that I could do it in Photoshop as faras like Rose Atia. Those are the kinds of things that all totally blend away. If it's like tan lines, I let the clients know that I can fade it, but I won't remove it completely. Okay, thank you. Really conversations ahead of time. And by letting them have that vulnerability when they arrive in all that, and then discussing things with them on the spot. Do you ever have anybody that completely sykes himself out? And you know, being having a real body and having you know your own insecurities about yourself. Have you ever had anybody that has said a toe last minute? I don't think I could do this and then try and back out. And how do you handle that kind of situation? I've never had anyone try to back out, but I have people say I'm not gonna do the nudes. And then I go, honey, Okay. Okay. Okay. We'll do the news. So, you know Yes, there is that insecurity. Sometimes there is a kind of last minute freak out, But as your as your going and you're having fun and they're feeling and they realize they do feel safe that it's something that they will want to dio and you in court, you know, you encourage the look, these air for you. These aren't for me. So you don't need to please me. But you know, if you don't do them, I would hate for you to get your proves and go cash. I really wish I did that because this may be a one time thing for you. Or maybe it will be a series of nine. I mean, I have ladies that come to see me every year so you know, you never ever know. But it's all about giving that client the opportunity to warm up, you know? So if you do get in a situation where there their and they're like, I don't think so and just be like, you know what? I understand you came for a boudoir hedge, you know? But let's do some headshots. Let's like, Let's what did you wear your jeans? It's but let's get your jeans that hang up on me So I start casual or whatever. They're comfortable. Some people aren't luxury people, you know. So they might come with lingerie and then get there and be like, I just don't feel like myself And I've had that happen like, Okay, would you wear here? You know, and they end up loving those pictures. So it's all about finding that connection with the client and so seeing what their needs are and facilitating that for them

Class Materials

bonus material with purchase

Client Policy
Example: 2 Day Schedule
Lightroom Presets
Lightroom Presets Installation Instructions
Client Session Information
Full Edit & Longhand Retouch Partt 1
Full Edit & Longhand Retouch Part 2
Full Edit & Longhand Retouch Part 3
Longhand Retouch Part 1
Longhand Retouch Part 2
Facebook Ad Creation
Full Edit in Lightroom

Ratings and Reviews

a Creativelive Student

Let me first start off by saying that Rachel puts her subject first. She has a passion for empowering the everyday woman, showing them that Boudoir photography by no means only belongs to the "supermodels". She shows them that they're amazing and beautiful, and it was so comforting and heartwarming to see this in action in her Creative Live course! When Rachel's shooting with a client it's almost like no-one's in the room but the two of them. Rachel gives her undivided attention to the client's safety and well-being and general comfort. I was so glad I tuned in for the course as I learnt countless tips and techniques about lighting, angles, posing, different settings for the different types of shots you'd want to grab. Another reason that watching the class was such a pleasure for me is that Rachel comes across as that awesome, down to earth, lovely friend you might have in your life, who just happens to be one of the BEST Boudoir photogs on the planet! This was an excellent workshop, top to bottom, and I'd recommend purchasing it to anyone who wants to learn everything about this type of photography, including the business side of things which her husband, Sean, explained thoroughly. I have absolutely no idea what a couple reviewers were "disappointed with" but take it from me - this is a STELLAR course and if you're looking to get into the business, or just even honing your skills on photographing the ladies, this is most definitely the course for you! Tons of info - great guidelines on how to handle your models, great info on lighting, lenses and settings! Rachel will make you fall in love with Boudoir photography like your life depended on it! She's just THAT good! So go on, purchase the course and have her invaluable instruction at your fingertips whenever you need it!


I mainly photograph landscapes but I'm interested in learning other types of photography. Being introverted it's a challenge for me to photograph people but I it's a barrier I want to get over. I purchased this course and some others on portraiture and boudoir photography. While Rachel and her husband aren't polished speakers I thought they were honest and straightforward. The "clients" being photographed seemed a bit nervous but I imagine that had a lot to do with the fact they were doing the boudoir session live in front of thousands if not millions of viewers. Rachel also had to keep in mind she was tethered and the recording of the session while photographing her client so I don't think this was optimal and Rachel's back began to bother her so I'm sure she was in some physical pain. Regardless, the resulting pictures were beautiful so Rachel was able to make her clients feel "safe" enough to get through the session. Also it seems part of the audience were women who had been photographed by Rachael so it says something that they came to learn from and support Rachel. I appreciated Rachel was photographing real women, not models. What I liked most about this course is it made me feel like little 'ol ordinary me could be a boudoir photographer too If I am ever inclined to do so. Her style of photography isn't quite mine, but the session was still useful and instructive especially with regard to her lighting set up. I wish Rachel had talked a bit more about setting up the support team that goes around with her like her make up and hair artists, how she finds and decides on houses to rent and what cities she goes to, etc. but I guess you can't go over every single thing in a single course or maybe that can be a future course. Rachel and her husband seemed like a nice down to earth couple who put their family first and they were quite honest about some of the difficulties and their concerns over safety for themselves and their clients. I was touched that Rachel photographs women who have gone through cancer treatment for free as I do volunteer work in a hospital. I thought the bonus and included materials which had Rachel's Lightroom presets and her client info packet was very generous. Some of the other photographers charge for getting a copy of their client documents and presets. I purchased Rachel's eBook off Amazon and wanted to purchase Rachel's Photoshop actions but in searching for the purchase links I read Rachel is going through some health issues, I think it was spinal fusion, and it seems has suspended her business until she recovers. It looks like she plans to still make her "return" sessions starting with Hawaii during April 2017. I wish her and her family the best and will say a prayer for her quick and complete recovery. Thank you Rachel and Sean for coming to Creative Live and I hope you will teach another class or at least participate in a critique of boudoir photographs.


Warning: You are about to encounter a large number of exclamation points. ;-) This was such a great course! It was great to learn boudoir with such a caring, generous, and knowledgeable pair! Rachel really brought it with her posing, shooting, and building rapport with her clients. She even kept going while in intense pain! Also, the sections on retouching were EXCELLENT! I had trouble following the first retouching segment where she used her actions, but then she came back to retouching later and showed us how to do each step "longhand". Knowing what each action is designed for makes such a difference! I feel like Rachel read the audience and saw that we were floundering, and tailored her presentation to just what we needed! Sean was also very thorough in his presentation of the "business" side. It is hard, as an artist, for me to run my business like a business. Sean showed how it can be done. He also showed the need for a strong "why" to focus on when telling others about policies. "It's a business. I need to feed my kids." I need to reach down and find my "why" that will keep me strong enough to stand behind my policies and pricing. I haven't gotten a chance to sit down and go through all of the bonus materials yet, but I am so excited to see what's in there! I saw that Rachel had posted a longhand version of the "little hug," and I watched it, and I have been trying it out on some of my older images. Just that one little tweak makes such a difference! Thank you, Rachel and Sean, for giving us SO MUCH usable content! I'm so glad I decided to watch and then purchase this course! And I can't wait to see the two of you again for your next creativeLIVE!

Student Work