Fashion Photography Posing and Lighting

Lesson 9 of 21

Sitting Pose #8

 

Fashion Photography Posing and Lighting

Lesson 9 of 21

Sitting Pose #8

 

Lesson Info

Sitting Pose #8

And then expose on the menu is this because we want to try and flow is this clearly pose so it's very similar to what she was doing go back to the side do you want to face this way so we'll marry me yeah and this time you are sitting on your back foot your front foot is right up like this okay, so mira me exactly you're sitting on your right foot you're lifting is right up she's got these long legs and she's hugging her knee here this was used in a bar every campaign cheer the boob redress and stalking tom also this was used in a hamburg campaign where they put their hand big here and for some reason she's tying a shoe lace with that shoe laces with every bag here and she's going like this and she's looking to the camera this only works with length and I'll show you why it five foot nine so just hug your knees so this one your backhand is there and then this one is there it's actually here ama's there the space in the model that actually shot this you could have put her whole hand thro...

ugh the end I can't do that with her so what? Five foot nine with her body if I can't create space between her league and torso, that means she's bigger and shorter than the model used for that campaign it's so wrong it's so not really life it's not real life, but, you know, it's, just the craziest thing. And I know it's a fashion thing, and I know that when you go and look a runway nineteen nineteen, that this stuff doesn't make it into storage at, and I get special models at a swell and that's why a very small percentage of the world is actually built like them, but I will say that the idea is when you're creating images for your folio, when you're learning poses, when you've got a long body it's so much easier to create these poses, and if you're building a folio, you want the fashion, loker, if you just have a long, lean body that you can do all these killy poses with, then wonderful there's something you have longer torsos, thin legs, and you, khun few everyone's different. I don't think there's anything wrong with trying it? Not your ride. All right, so what I need to do is try and get us much space between cassidy's torture and who legs is it possible cassidy to pull back, pull your boobs back away from your league like this, like pull like trying, make some space between here in your league, okay, all right, you can do it, I don't I think that has nice like this. There you go. I love this. Okay, so the one thing we don't want is that flat hand let's just years ago. I like that. Okay away. Go long chin right here that we're not using windows like you became more of a curly torso. I think you've got a blink. See the space we got between her legs. Now we're actually got a really cool space here. You just just the top of your head. You think you got another blank there? Let's, try a cast for here. That's it okay from here, let's, bring this hand up. Cassidy, your right hand up and your left hand even higher. Good girl not and bring it down a little bit more. We don't want them to be fled again. The league. I can't want you to tip this way a little bit more this way. Good, gil and turn around. Beautiful, perfect. And I just can I just if you dip it in a little bit cast to me yeah, they're beautiful. It becomes a little more dramatic just okay and come split the difference come back a bit. Yeah, good and connectors I see a lovely good night, sue karen all right, and from here, let's, bring your right hand up and bring your right hand up into you're here. Good girl. There it is common to hear long chin up just a little bit now what I don't like now and see this all the time is the amputee front arms let's take a no shot. No shot is when we don't see the arm being around, we lose him now. There's. A difference between cutting off limbs, cutting off wrists and then making someone been dylan's away from the camera. So we need to get that hand down. So that's it exactly right. And then shin around. And now we're making another vital mistake. And that is your hand is now over here. And I call this let's. Take a no shot talking on the telephone. Okay, that we do not talk on the telephone, so it needs to go into it here. Lower that's it. The chin goes around. I can't launch in towards felix and down that teo eyes up. Now you go. And now you have the option to move hands around, changed his shoulder, the your right hand a little bit more belly like on it could be on the knee. Yeah, perfect. Oh, yes, it is, but you know what I mean, thea, other left

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