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Lesson 10 from: Fashion Photography Posing and Lighting

Sue Bryce, Felix Kunze

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Lesson Info

10. Q&A

Lesson Info


Starting without three poses working our way through. We've got time for a quick question. There were got time for without poe's gone over that. All right. Thank you so much. You don't really want you can relax. I want you to understand when you're learning, posing that the best thing somebody could have taught me was this start a pose like this put your feet and could then put your feet apart put your hands onto your waist rock onto one hip, drop your shoulders and push your chin forward that became my go to oppose my go to pose now leads to three hundred other posers. But when I was a newbie photographer, if I didn't know that simple thing, so we're tryingto anke you right now in the most basic basic anchored poses that you can then make your own tuner around rotator, swap her legs around, try different rotations of the shoulder. Remember, the human body works beautifully like this. Our shoulders work like this towards the camera and they go up and down a little bit. But really, they...

just go this way and this way. So I always look at somebody and I go movie shoulders for me, felix, beautiful, okay, I know that what hits? To move hips and a man to move his hips they put his feet out he can move his torso so I'd raise you cannot move it forward and back but there's not many options for the guys they have one motion and it's usually how they down yeah I call it trying obama or the toast it were nothing moved all right but the girls the girls have this okay because we have the so I always think like all you have to do is if you can't move your hips write your name with your back right right your name I'll be like this is too bright that was my age by the way I'm like e on then my being okay come on even write the name with there but I want to mine because you're kind of like hell it's really lucky well yeah and then you got the six ah right all right look at it like this we move our shoulders we write our name with her but okay everybody can do these things and then the difference is once we get our shoulders so don't be afraid of moving people but you must do it confidently and what you can't be like just do something or just do it's got to be like this I want youto move your hips this way yes move them this way yes moving this way stop there it is now I want you to move the shoulder here move the shoulder here move the shoulder here stop there it is push your chin forward standing up nice and tall come up onto this front foot use your buddy now I just want you to bring your hand up in touch. No, this doesn't look good. Okay, how about the back of you here? Okay, I know what I want you to do is relax and pull it out correct them take your time, take a shot have a look at the shot, go back, do it again go back, do it again rotate them around, stay in the same position but I want you to come around to me this way I want you to come around stop bring your chin back to me. But as soon as you start posing with direction and confidence and you hold that space they stopped wearing about not being able to move and used out taking these incredible images and they're all beautiful and it just, you know, simple it's a tank top and shorts she's got these great limbs going on and you know we are shooting probably on one of the world's best backdrops but, you know, at the end of the day you could do this on a white wall or a black the flat and it's still going to look absolutely beautiful now if I had styled here through those three poses and different outfits we would have even got theater shots but you know we can't go and get it changed everything time to come up and join you felix for some final q and a relation where I should go all right here we go ok let's do some rapid fire q okay okay this is from fashion tv and their six votes on it for all these poses what should we take note of when models subjects are wearing long outfits so maxi dresses long gown long dresses huge jack just sound said that every different pose would have a different outfit e I wouldn't pose and lying down shot in a coat it's going to be a standing pose if you look at fashion the coats of standing the boots win the curly because they want to show the boots and frame without showing a full length shot it's about bringing whatever's down the up into the frame so if you've got something big I noticed in the fashion magazine when I was looking through it every time they had a big juicy they would use the juicy so what's one of my poses when we come back is getting the food coat on here and getting her to move the coat and showing you how to move it shaped the code around the body and made it they just tie it really tight. Yeah and you know that these girls are wearing coats that five times too big for them anyway, and there, that looks really amazing. But when you've got to shape the body with a big coat, you've gotta use your hand. So what do they need? You awesome. So and using references by looking at magazines absolute. That clothing that there were absolutely great. Okay, so quick question. Do you ever would you show these drawings? Your client? Absolutely. I would show the drawings. You can show my drawings. You can draw your own, but I showed them to the client. I have them pinned on a board. We are visual by nature. People love it. They love seeing them. They love the idea of them like let's work on this post. I have got no problem saying that my client is so into it they'll do it in a heartbeat, infect the more visual and verbal direction I can give them, the better that they pose. And they really, really enjoy it. Especially when they think I've taken the time to design this shoot when they think that I've gone. Look, I'm here to do this with you. I want to do this long because you've got long legs I want to do this with you because you're here is great and I'm gonna blow it I'm going to do these I'm going to do this with your black dress and I'm gonna do this with your white dress and and they're like, ok, yeah really, really neat and I was from just happy so thank you for that. Lots of votes okay, maybe one more. Um what is the best way to get a model to pose while in a fashion action shot? We're gonna be doing any of that? I didn't think the fashion action was relevant and the reason I didn't wass if you have a professional model that jumps and does all of that stuff and does all those poses, then you were shooting you probably larry david and shooting a campaign for the city wait, I'm not larry j I'm just trying to get a fashion look with a girl that's not a professional model, so I'm trying teo rip off larra day for my every day a client to make her look like a fashion model so that I could get fashion style images for my website so I can look like a fashion glam a photographer so that you can get the experience of feeling like a girl in a magazine that you're never going to be in a high fashion magazine yeah, but the justice, the jump in there and the awkward part, I don't even get them anyway. I wouldn't do them. I think they're ugly. Aunt clara doesn't say them because she did a sixties too, and I think that is a good way of references because if the clothes are right on the hand makeup this right, you can go to a different place, and I think that forms part of it as well. In lower does the walk, you know is she did all the dogs and staff in new york, but that's relevant to the outfits, the scene, the dog, new york and you don't know you're doing this, you it's like you're not going to be. I know, but they were doing the stride and their boats and the addresses were beautiful and they had that shape in their body where they looked like, you know, they were working their whole body, and I would never do that for a patient portrait stylist put a coat on that does this or dress whatever, it's, all very amazing not what we're trying to attain exactly, and you just actually summarized what we're trying to achieve, yeah, last, but you're talking about

Class Materials

bonus material with purchase

Master Posing Guide

Ratings and Reviews


Spectacular class.!!! This is what it is like on a professional set. Time is money and the director gets the shot, Taking direction is the key attribute for the talent and crew.. That means tempers are high, there is humor and passion while cajoling the set to work together. The energy was amazing on this set. I loved their working relationship. Sue and Felix both have their vison for getting the shot. And they got it. I highly recommend this class.


Sue Bryce has what my Thai friends would call a teacher's heart. It is hard to translate but basically means caring, deeply knowledgable, dedicated to constant improvement and possessing the ability to present to students in an easily understandable and accessible manner. "Near enough" is never "good enough'. In a word she is a professional. This course is highly recommended for developing a framework for photographers to work from. Sue Bryce also has many additional pieces of inspirational advice along the way in terms of styling and costume. A talented teacher who presents practical steps that can easily be adopted by others. Impressive!

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