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Fashion Photography Posing and Lighting

Lesson 17 of 21

Standing Pose #1

Sue Bryce, Felix Kunze

Fashion Photography Posing and Lighting

Sue Bryce, Felix Kunze

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Lesson Info

17. Standing Pose #1

Lesson Info

Standing Pose #1

First prize that I do around I'm gonna take this out don't be afraid of shooting with these a text you my attention to my skirt of the dress is too big I pinch it in if he needed to twist I told you that you know I'm pretty much have these everywhere I go I take them to my skin everywhere I'll go out to lunch afterwards I find them in the back of my own here I clip them like this we'll have two going at the same time looked like a mad scientist I'm shooting people on there like with my clips where's my clips I'll be right here I got no shame in my game well we found another one say that uncle later all right and that she'd go to standing post everyone does it hey now it's perfect girl man found another one okay there you go right the one thing we do is that what you have people about a volume here hank always looks good so I always go hands into the sides above your ears give yourself some volume hear that sweet sixty here is right there. Okay, so I always walk upto my clients and I st...

ick my head in here and they give it a bit of a message out and then I let it go and then I spray it out words like this because that's where you want your volume so is this where we go to the different crops? No, not yet, okay, standing poses one o one first thing we're going to do is this pose here, and I love this. I think this was so beautiful, particularly with links you're going to crop to, I'm going to say mid thigh and you're going to be below her eye line shooting up on here because you can she's long she's lane, she's beautiful and this is going to make her look really modeling her hands instantly where at the back keep your hips like this. So there and there most of the fashion images, the elbows directly back this is how you know she's a model because the amount of space between there and there because it's incredible and when you see those six foot girls that a forty five kilos, one hundred pounds and they've got all that length and all that, you can see why they put them in those poses so straight away, everybody fans out here like this with the album, and I want her elbows like that because what I want is to be able to see through the okay, so I've got to get here is square as I can that's more fashion, ok, a little bit higher on the legs. Otherwise it's about the league's not about the dress and now what I want to do is I wanted to lean back with your shoulders now this is probably one of the most significant poses and let's put our hands here like that so thumbs tune your thumbs they're there to go now straight away the first thing you've got to do is see that they're calm and we want to make sure that that their comedy the symmetrical or out of there okay now I want you to lean back cassidy so however you adjust your feet I don't care how you stand as long as you can lean back with your shoulders okay and you don't want to collect the bum so you want to keep your booty out and lean your shoulders back so what this does slims you torso straight away okay because you're a beautiful shoulder in the front and take it and then push your chin straightforward it's about it being straightforward long ten long, longer down, down, down long, long, long, long yes that that its authority alright okay from here don't move until we nail it we haven't now that okay so at the moment even though you can see her leaning she looks like she's just going at this right in the photograph there's not much movement I always say to people push your hip out over extended this far as it goes over extend the hip like you've got to push them past what they think they're capable of doing and use it hurts but it's like doing yoga I can't engage your core and breathe in and cassidy as you breathe in, you're going to push back into the position with your chin forward and down and really gorgeous self pretty look on your face yeah did you get it? No okay, I think the heads the thing is I can always tell where it is from the front but I can tell from the sides of the first thing I'm going to do is watch this I'm going to drop this handout because this hand doesn't need to be in there I'm going to be here I'm going to create space and I'm going to go and stand behind felix because I'm not seeing the post from the front can I see three here? I need to see it ok cassidy lean on back too high you should be shooting up on her she's a fashion model and you need to come in a bit closer so now you can move up to me shooting high, then she can come into the light I can't come into the light come on to the lord come into the light okay like that yeah, yeah then go down to that there we go yeah can't suddenly changes in the frame all right, so soon as you see that now we've got to get the sound back. Cassidy now I've got to get you to lean back. That's a go long chin, push it forward and down, down, down, down. I just I think the hair should come away from this side of the face. Okay? And maybe what I could do is come up a little bit higher in your crop. Felix, I can't even do this if you like. I think cats, can you just go like this? Just get your head back on the other side on this side. Yeah, I think it needs that shape in the face. There is beautiful. And that long neck. Remember? Perfect. Ok, now very slowly. Turn your chin to felix all the way around. That's it all the way around and eyes to him. Okay, so where I would go from here is I would actually do two things. One of them is I would that's perfect. Exactly. Right. I would go to here. I would push the shoulder forward. I would connect the chin to the shoulder and eyes to felix. Go. I want that hair back. So you can you just show me one quick and right now that's beautiful, stay there. Exit code ok, I don't like this hands and it's open it up a little bit more it's open her hips up because what she doesn't have, she has length but she doesn't have a lot of body swap the weight off your feet to go and it goes all the way down to the front put this hand low now she's got a hip bone now she's got some booty and let's bring the shoulder forward with shoulder towards the chin and bring your chin towards your shoulder and they're lovely. Okay, so at this moment, okay? No, still not working. All right, so I'm going to change a composition because what I'm not saying it had opposed and do the composition, so I feel like I'm gonna have tio tio coming to here let's find it to me. You've got to see it and it's about something that you have to say. Bring your chin lean back into your shoulders again. Today is one of those things you have to see it to know if you got it or not. It's, you can't really describe it. Well, I feel like it's in angers, you know you've got it when you see it, what I don't like is this front hands and let's just let that go behind and take another one there but I feel like the six that we took private that we're not you just could feel it wasn't working there was in the balance in the composition there was an imbalance and how it was working can you keep it handy give it I put that you bring it back again okay now let's do this some behind behind behind good girl okay with the shoulder and come all the way around long chin okay let me jump in I got to see it again there you go you're starting to get there now but I'm gonna come in a little bit closer shoes on set common problem common problem long with that shoulder case today there's no good girl more that's the one long chin towards may there you go get me some air in here that would be me going you've gone over here that's my job like a fifty millimeter now okay more shape leaning back into your shoulders let me feel like yes this is where I'm going t o write get one without the that thing in it the timing long ago all right, we got it right from here you put your hand forward again let's do one more soup and now a russian okay, good okay, so don't be afraid beautiful you don't always just take a shot and it works right from here let's put both hands hold your elbows abbas abbas now we don't necessarily hold the front elbow we hold the hip we held this one see this mistake all the time let's shoot the the no vision is when it's side on and we see the mbt over followed quickly by the turn your body towards the camera your upper body towards the camera with your shoulders like that could kill kate but bring your engage your shoulder that's the one perfect hang on let me say all right again I gotta come in I can't post on the side I just don't see it all right what I want you to does touch touch touch that's it now I want you to lean back I want you to open your shoulders that stop pushing towards me all right how many times have you and you have to keep a few biggest mistake is if something isn't working is not changing anything that's the main where you bang away at the same pose yeah and you get thirty of the same poses and it just amazes may okay remember what I said about when you get stuck when you get stuck you moved the shoulders first okay then just once you move the shoulders then you move the hits all right so you move the hits how do we move the hips by moving moving our feet changed the way to feel feet just try it to see what happens lean back open up the shoulder when we move the shape of our feet we move our hips we move our hands let's go from here let's leave this one across the body and let's bring this one to here so just touching other one toe always when it's not working you change the shoulders first yeah change his shoulders first long chin tim this way to the camera that's a go on just bring this hand in now laying back that's the one like make it work make it change change something even if it's just a hand or a shoulder and keep going until you see it but don't start has changed this right arm's okay leading from the angle you see it's it's just hot it's hidden behind way don't touch the belly that's what we don't want to do because the belly means we're pregnant then back into your shoulder okay and then this hand touches here bring you chin all the way around that girl beautiful chin up to me now long tonight to me that girl perfect this is how I'm your assistant to press the button for e I always dreamed of that one day that I was just you they would my assistant would sit up and I would just walk on set and be like now now now take it I'm gonna cover to cover that's it yeah those streams and close those during day I assume I'm just looking here this hand kind of it's like hidden back then? Okay, well, it's just flow. So how about I just trying to a couple of different things that I normally do? And we'll see if it works and see if it doesn't from here I want you to bring your hands down to here just after I see you. You just look at felix, lean back into your pose. I want you to work the shoulder like this. Okay? From there, I want you to tune your shoulder away from felix and look back at him. Go a little bit, fear the cassidy stop. Ok, look down at the ground with the shoulder. More good, gil okay, stop. When I say with the shoulder more, I want to try and create a straighter line here, okay? They're in there now. Okay, now I want you to kill you back in. All right? Can you see? Okay, so one of the things I do whenever I do the look back over the shoulder is the curly pose is I really want to bring a little bit more killed often where I will shoot horizontally as opposed to vinick lee, should we go to take questions sure, always trying teo shoot for like, triangles in diamonds on this one, so what is like, what is the one thing that we're looking for in this pose this triangles or diamonds in this pose on triangles and diamonds is when you move and fill the frame with anson legs when she's standing up like this we're going closer and closer and closer towards a beauty shot every day because we're starting to crop above the shoulder and we're starting to go beyond the point with the way we've started to go beyond the point that this is a a diamond or a triangle we're actually shooting now what I deem is being more cover girl I feel like what you're trying to do now is fill the frame without the migs I'm back here soon okay so show him more of your shoulder cassidy yeah just one of the time and side down because this is such a beautiful transition stuff I want to show it okay yes and I just keep clicking I want to show this transition all right one thing I really love here is I want you to crop it like that okay yeah is this is too may my absolute go too serious right now and I think this is so gorgeous so once he gets into the crop I like this to me is beautiful horizontal it's beautiful vertical but watch this ok go so cassidy I want you to show the back of your shoulder more more curly that's a girl stop come on I want you to show up and have a look you watch and I want you to show that becky, you showed more, more, more stop eyes to us election mouth election mouth open that's a girl more curly, more curly! She blinked sorry that's a girl. I want you to show the back of your shoulder more keep going! Keep guns, radar brussels now look back! It just is so beautiful. Each rotation I could diagnose the shelter get too high that's it I can't see from this load drop the shoulder down, bring your chin down to shoulder stop either all such subtle movements. Well, that's the incredible thing is such a beautiful, subtle movement, but to watch that happen is just it's just gorgeous and I feel like you know, every time the one thing I didn't see from the front as she started to bring her elbow here, retake the shark with elbow here but they weren't there safe and now more curly said this time here arm is not covering her bris line and you'll be quite surprised by how beautiful it is. Okay, so soon as you bring the breast line that can, this has cropped to you come back out going in a little tighter, felix because you don't need the elbow, what you need is that book blind there that's it gorgeous and it looks beautiful, horizontal and also looks really beautiful when you crop this eyes down and I'm gonna put a bit of here. Here it is, felix, look at that that's. How come a shot beautiful about time. God, you swim here, good eyes down, eyes down, election mouth long, ten long, ten working shoulder. Good girl, say wind. Okay, wind, wind, eyes up, eyes up, more curly, more curly. Ah, look att that's, beautiful. I don't even need to look because I already know it's, beautiful, beautiful, ma'am, that's, what I like. Ok, let's, keep going.

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. 

Class Materials

bonus material with purchase

Master Posing Guide

Ratings and Reviews

Student Work

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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!