Fashion Photography Posing and Lighting

Lesson 8 of 21

Sitting Pose #7

 

Fashion Photography Posing and Lighting

Lesson 8 of 21

Sitting Pose #7

 

Lesson Info

Sitting Pose #7

Now what we're going to do is hear legal killing her she's been sitting on a wooden box fifteen minutes while we talk about it. So now I'm just going to get here to lift up her front foot to stay on your back foot and lift up your left foot. Put your left foot down now, right up onto here. If you could do that, cassidy so you're going to kill up onto the box that put your heel there? Yep. Good girl. All right, now look how long your legs are straight away. She's got these long long legs she's going to fill up this frame. Now we've gotta work poses around here, frank. So can I have a fan? What do you want to come and sit on the floor and fan? Yeah, I don't mind, but you need to sit just out of frame because I'm going to go on close your hands so you need to sit just off the flashlight. So if you just pop down there yep. All right. And I'm going to come here, all right? Let's see how many variations we can get here? I stay there and stay with your tilt good gil right there. Can I just sa...

y also now I've got the floor in it again now if I was shooting with models I would change it have someone's changing but sometimes when you're not shooting with models you don't wantto break the energy just to move the set around so I can fix that very very easily and photo shop so if you're doing a portrait session sometimes like I don't advocate thing oh saying like in your head to our fix that they didn't put a shot but if you're in the flow and you change something that's more important okay so I have a little bit of the thigh like you shooting yeah john would you help me this just oh, sorry deputy cassidy has the one thing that all talk girls heaven that's big feet so I'm going to bring her foot up onto their box a little bit more now pointed down looks better pointed down all right john would you help me put this trifle I'm so yes please but is this are you saying this is not the one you normally because I travel with so much stuff that yesterday morning I actually took a bunch of stuff out just to make it light enough and that included my tripod but I know you guys have a try put here it's this woman from a tripod it's great and I'm sure if I spent time actually learning how to use that I could drop it not the one I only I was just inside gathering the model name for this for jim you need to see into my mind is on. I'll get the model name for you is just doing that that's what? It was it's a tri pi. Yeah, yeah on that's. Why? I just just like john. Do you have a try? But I didn't ask what model it wass I didn't inspect. All right, it's. Go, I think go a little lower. Even so, these guys is it let's? Do a class now on how to use a tripod. Wait. Just be clear. My first creative life, I had a tripod and they were like I had to adjust it on when I was shooting life and I don't use a tripod. I'm not an idiot. It's cut three leagues. It goes up and down. But I was like, go to a justin and I think, live shooting can somebody just the tripod? I felt like such an idiot, you know, it's a tribe. I also get to the position where you just have your assistance to it's. Much better. Okay, perfect. So I'm a bit lower and I want to stay around like a little point that toe little bit more beautiful. Good girl. Okay, cath, just connect with the eyes there is perfect. All right, beautiful. All right, now that I see I feel like when we dropped it down leaks got longer I'm going to sit here you're gonna watch me for the pose and then you're going to look at the camera. I want one of these now, okay? You should be wherever your model is they lie down you'll idea there are no bucks you you're about the same height if they're squatting you're squatting in a kneeling you're kneeling if you're shooting at eye level or lower you really need to be doing pretty much exactly what they're doing makes it really easy to do your transition poses so let's transition from here I like this angle better. I want you to point the toe down because it's going to make more so bring your heel to the age yesterday point point point good gil let's do a couple of different poses see what works and what doesn't you're going to put fear into here I want you to bring your right hand up and over good gil long mate nice and tool good gil give us samir watch what you're doing though don't just flap it because look at this if you're going to hold the face of here here is like an entity you gotta go where is it and then find it and then you find it there it is and then you with what you've got late you've gotta work the here you can't just be like all right gil being home there is good in your frame right now. Okay? Perfect. I love this okay change again let's bring the hand cassidy let's bring this hand on the inside like that good gil touch here that's the one let this hand hang so that's exactly where it wass been that he'll palm in no no long fingers that's it long don't fan into a touching all right they actually get cold launch in long ten okay and there it is go and I've to meet perfect there's gil beautiful from here I want you to kill your back in a little bit more cassidy and bring your face all the way down four hundred wow, the previous I can't go back go back yeah, let that hand hang in the front that girl good eyes just three friends here beautiful and now you guys at home if you have cheap flights or its fine you just shoot slow. You know, the only thing you get with more expensive life that you can shoot faster so we've used something fairly basic because I don't need to shoot one hundred miles an hour here okay cast one more good that's good chin forward yeah that's a bit too much too much too much just give me a nice after that your eyes here cassie up here for their that's a go good they connected the camera eyes yes long chin that's beautiful so I think from here let's bring this hand up to here and you're here so that's it now I don't have a look this is your no post stay there so keep the no post is look how flat the forum is there's no space no triangles no room I want you to bring this hand out this elbow out that's not that fudge it it's got to be still on your knee that but I need to see through it I want you to touch the outside of you here bring you here forward good gil and what we're gonna do is not just have this straight up and down club for arm there we're going to bring out a match spaces possible and used the risk to touch you here so we can see through the more space you put around limbs the longer and lena the body the more shapes you make with limbs then the more interesting the shop everyone that the club hand thing like how it doesn't work so can you just turn your hand towards me like that? Sorry no with the palm towards me is that what youse know that people do to things they do tulley fingers like really clearly killing like this like myself if that's what you want and then they do this that one I don't know what that is but it's a very common model's still all the time they touched with the back of the hand like this and I see it all and I get what they're trying to replicate it some form of touch to them it feels like attached but from a search to the back of the hand and it's like look at the back of my hand touching my face instead of that okay so we want to create space space space and I always say look at your fingers like a comb and just pick up a bit of here like a comb because it does two things brings the here forward and you kind of get this space you get this space to lean and without it being palm to the head because people will instantly lean on their hand like they normally with and see the combing and with their fingers that kind down lift up a bit of here and get a bit of volume in there and then you've got nice extended finger through them right so cast connected eyes there we go she and your hand towards you casted ain't no other way good gil yeah they're your arm away from your face that's it and now bring your hand in like this look at me there that kind down into you here the guy wind cast beautiful ok this hand here and it's put it down onto this foot I'm so on this foot here that's it perfect and then this hand drop it down she read you some ofthe camera guys I really love this look at the extension through her hands now and I wouldn't do well the thing is is I wouldn't do off camera eyes with this pose because this is more portrait fashion but when they standing all of those off come eyes because it doesn't make sense you've gotta understand off camera eyes is one of the hardest things to do we don't do it important because it doesn't make sense because he's off camera eyes of this one which is that look when you like there over your shoulder so from the front you're looking back and that makes sense but when they're sitting like this looking directly at you posing you why would they be looking away yeah I think it works very well when you have more than one person all right so from here my obvious reaction is tio move around the way I dig going to get one more here beautiful cast okay my obvious reaction is teo do exactly what I did on the bass fiddle and that has bring her straight on to the camera so just rotate around cassidy good gil and bring your heel right in front of your crutch so that's it because from the front drop that knee down and there's a whole lot of beautiful poses this has been used in fashion magazines for twenty years it looks great when the nude and they bring one arm up and cover their boots so the league basically covers the crotch to the front and um one hugs so have your holy kiss ity around your leg and in this one it is a lower like this so that year and so this hand drops down to cover your boobs so if you were naked from the front it covers the boobs it is just your classic skin sharp it looks really good it was used multiple times in the nineteen and spears cover you know what still to this day my clients by this shot because they so brave to be out of look note and so many of them I always photographed them with their andy's on because then they feel comfortable from the front they can hide their boobs. The good part about it is it looks really kate mastered it for three campaign she send the same post three campaigns naked you can remove the side of the andes if you can see it on fetish shop often you don't they can cover the breast line it's a great skin shot that's a great clothes shot just be aware that when they are posing you are seeing right up there right between the legs and if you don't be careful then you just end up getting a shut off the crouch and they don't want to buy that so especially now that they've got have any clothes on all right because it just doesn't make sense but it's just your quintessential I love it is to go to I think it's really really beautiful okay so let's drop that shoulder down that's a girl and turn this hand around so see what happened when she rotate around her ankle she gets more shaping her wrists she's got pointed engaged feet ten down just a little bit give us samir and they're that left hand is a little bit club yeah just her left yeah just go up your body line like a friend okay so it looks club go around the arm a little bit more so bring your arms and kiss me like you're hugging you south better and now lower drop your hand down so it's covering your bow blind now chin down a little bit more now pull back with your torso that to girl the wind and cass and one more see beautiful okay, so at this stage this is where I want to do a whole lot of I could guess keep going now but the point is is that we set down on one base pose we started to rotate around but this actually instantly takes me to the knicks pose

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. 

Reviews

Barrie
 

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!

a Creativelive Student
 

This class is amazing! I watched it live and participated but decided to purchase the course afterward for the excellent pdf! I have recommended this course to my photographer friends and anybody who is trying to improve their skills. way to go Sue and Felix. Love these two together. what a power team!