Fashion Photography Posing and Lighting

Lesson 4 of 21

Sitting Pose #4

 

Fashion Photography Posing and Lighting

Lesson 4 of 21

Sitting Pose #4

 

Lesson Info

Sitting Pose #4

Okay, I'm going to now rotate around here and I'm going to bring wei just shoot that without you in it ok? I'm gonna show you were before really? So you just get that obliged me did you not get there before she moved? Did you not get it? This is not the picture you're looking for, you know? I don't know I didn't. Sorry e all right, good. Lovely. That was all I wanted to make. Sure it's fine. No, it's just kind of one of those moments and then we move into it too far and now I'm going to move here forty five degrees and she could just rotate around right up onto your toe scarcity that teo albert comes right out to the end. This means backwards now, she's long enough to create a triangle here where I'm not a little for me, okay? I'm not long enough to do this the more space I can put around the body that the longer she's gonna look so I'm tuning her around a little bit more pull back here remember if they're not wearing something fitted you can pull back here so it's nice and tight aroun...

d their torso nice, curly back another triangle here, okay, working this front shoulder, chin up, nothing if they're wearing a shirt and then the kind of twisted torso just pull the seam around to here and they suddenly look like it's coming down straight and then look skinnier because if you have this and then all of this area in the frame because it looks so good. All right, perfect. Andi, just connect the eyes here cast perfect. There it is. I give these kind of subjective instructions and sometimes it works and sometimes it doesn't well, I'm in this post because I love it so much and this is probably going to be my go to if she wasn't as long in lena's she wass is I would keep turning here so I can just keep turning here towards the cameras of you turning towards felix. Keep going, just move your feet so bring your right foot around you have to swap the box and then what I do is put this one back straight down night straight down the leg. Good girl. Ok, remembering this when you are looking at here from the front if who need is too high, you just slide the box out, okay don't just have a creep in need it's just coming out of nowhere. It doesn't make sense, you want it to make sense, so from the front we should be other slowly, just tune her around and turn her around secondly, we don't post with his elbows on the outside of her body one is on the inside because it's cutting down into her waistline a nice long chin towards the camera that really I mean, she doesn't need it, but it makes that gives that kind of shape strike down. I used the arm kind of too, just to cut off kind of that if you photograph somebody here with me around like this and then you photograph them tipped forward with their arms forward, then instantly the perspective goes down into the waste, so we're going to do standing poses, but for now, take that one. So she's still just slowly rotating around in front of the line, and I I think what's really important is that you're not afraid of just slowly moving here. So just remember, this is the rule when you're stuck, start moving them, start moving these shoulders, start moving their hit, stop moving your hands, start rotating them towards the camera, and if you can't move, they move. If they can't move, you move, so if you've got lots of good background, you could come around here and she could just follow you with your face, so if I was shooting this look at me this way, kissing, she could just follow me around. But because the background was there, she has to move and she can do a full rotation on this tier to just take your time and start moving here and start directing really strongly with confidence in just that shooting and you'll just find it right from here from the front on now lots of different things can happen here she can bring this hand up to the front again big half under her chin she could do a whole lot of touching poses that involved her hands also, what she can do is bring her body towards felix even more to keep coming around scarcity that's a girl right up onto your tie's eye contact good and see, would you d'oh camera kind of profession, you know, camera eyes? Not yet. I'm going to, but not for this one. You do one more just eyes. All right, cassie, it it's uh you're doing great. Thank you. We're just kind of like I'm like you do. You would be interacting more with her, but suze doing everything and then I'm like here and it's not really that connection she model felix, we don't have to talk to her or feed here good point, good point. I have forgotten the first rule of fashion, I apologize and the winter is real profession, you're being paid to sit there do you wear to your job? Yeah, I was actually shocked the first time into fashion week that nobody really spoke to the model. Oh, yes. So we're mostly theyjust sit with your friends in and just chill out, and but they do that on shoots to it, just kind of, like, quiet and, you know, not a portrait shaped like, oh, you're a capricorn.

Class Description


Bring more flair to all of your photographs with fashion-inspired posing and lighting ideas from Sue Bryce and Felix Kunze.

In Fashion Photography Posing and Lighting, Sue and Felix will show you how to direct and light a model to create a fashion-style shoot. This class brings together a master of posing and a master of studio lighting to show you how to create gorgeously lit and posed photographs in your own studio. Sue and Felix will demonstrate how to create three versatile lighting looks and a whole range of poses that bring the subject to life. You’ll learn how to work with a model who can’t move and how to capture the energy of one who can.

Create and capture the beauty of a fashion-inspired shoot – join Sue and Felix for your guide to shooting professional fashion looks and photography poses. 

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