Live Demo: Flow Posing
Okay, so I'm just gonna imagine that it's just minor and I and that I've got my camera here, and, um, six is gonna talk her through all of the poses. Come up onto this toast. I want you to mirror May. And I want you just to doing up and down. That's it. Now, I want you to really fall out into that hip and drop that shoulder down there. That's exactly right. Pushing your chin towards May or Cem. So there's my shots. Right? Then a straight away. I'm gonna tune this, put out so there. And I want you to bring this hand around to the back. That's it. I want this elbow to go behind you, all right? And I want a long chin all the way to the shoulder. So pushing your shoulder forward and up just a little way, but more. That's exactly right. Now keep going away from May so that you're looking over your shoulder there. It may Indians my other shot there, So I've already got three really beautiful shots. Come back to the halfway pose in this time. I want this him to go all the way around at the lo...
wer part of your back. I want you to kick you by Matt even further. And I want you to bring this hand up and draw a line across your to Qala Taj. Stop. Okay, so right from there, And then I want you to look down so your chin is long and down in your eyes. Go down your body line there. Okay? So straight away, these five beautiful shots and all I did was changed her angle from there to there. Okay? And then I bought her hand up to fill the frame. So Okay, come back to the center and I want you to go back into cover. Girls, I want you to drop back. I just want your hands outside of your fabric years. So it's not pinching. I see your fingers on the outside of the answering here. Okay, So when we do our covergirl pose, I want one up, one down just slightly. I want you to really kick out onto hip long chin forward like a tiny little smoke into your eyes. OK? From here. I just want you to bring this hand up first onto your shoulder. OK, So you're Albert comes all the way into your body line, and then you just take it out to their okay from here. I want you to bring this hand up to your face. Okay? So I wanted to cup your face. Bring it around. Just let your fingers go out a little bit so you can push into your boob line Long chin sitting forward and over your hand. Okay. From here, I want you to bring this hand up, and I just want you to bring it into here. So keep using your hip. They're taking out their cities. Another five. So just using all of the up and down the asymmetry pushing the chin Ford, I've already sent her fate, Her hips hit. We already know that it's pushed out. You know, You girls were shot, right? You'll feel that pain when you're pushing out. The idea is to keep making them work, their body. And then every time I bring the hands up or down, I making sure the asymmetry is there in every one of them I can do hands behind on the wall. But I want one slightly higher. Okay, cause I'm always looking for a symmetry. So I'm always looking for one up, one down. I'm always pushing that. If she loses that shape in her hip, then if you come straight up and out and I shoot here vertically, then there's no movement, no shape, no design and her body and absolutely no body language. The more I can push out that hip line, the more shape that I created in my image in my crop. Okay, so from here, I've got a d damn in the front. So I gotta put it. It's like being on there. And I just say, touched down there because what that does is that enhances here. L glass right from the start. And then I can bring the chin down so I can photograph this flat against the wall nice and close and get a beautiful slimming line 45 degrees with a leading shoulder. Or I can come around all the way around and photographed this different ways. What I can do with the hands here is keeping the body there. I can hold elbows. Okay, so we hold elbows just below the breast line. And now let's transfer. Take the weight on to shoulder its transfer. Our feet and just kick out booty back. And as soon as you kick the booty back there, I get this beautiful hour glass lines. She is straight down the wall. Okay, So how maney Schultz have we taken from around the turn now? Yes, we got 15 good shots. So if we're controlling the expression with end, we're using out composition. So we're going in and out without composition. We've got 15 sellable shots and she has not moved yet. Okay, so from here, the first thing I do is everything comes up onto its toes. Okay? Toast toes is so important. Everybody must work the body right down to the tips of their toes. Also, the more work I give here, the more things she has to think about the business. She is going to pose other bidders. She's gonna pose for me because she's thinking about what your body is doing. And she's not thinking about her photo being taken. She's concentrating more on what her body is doing. And the whole idea is to make her as long and Islam as I can. Everybody, no matter. Help cover you are no matter how short you are, what we're trying to do is lengthen you inside me down everybody. There is a reason that morals and nearly six foot tall and half our body way because you can turn them on any angle. And they look long and they looks them and they look perfect. What we're trying to do is along get you so always up onto the toe. Then we put the knees together because from the front I want to create an hourglass even when it's sitting down. And then I bring arms in when they hear I bring them into the knees and then I bring the elbows in so that they're going towards the waistline. So if you bring this one through, then on what I'm always trying to do is to create an al glass even when I'm sitting down as soon as I bring the knee into play. And theoretically, I would like a little bit higher. So what I might do just gonna just gonna use that just for yeah, OK, so we do not cover the diamond. Okay, so you know how some people I see it shots all the time and they sitting down with the knee right up to here, and all you see is this knee that comes up out of nowhere. And then it goes out of nowhere, and it covers into the whole point of me. Shooting here is to capture that diamond. Okay, to just capture that spackle. So we're trying to create that now, can you see? Assumes we put it hands there. There's who diamond right there. And it's beautiful. Now what we can do in here? Let's flow post. This is okay if I stand here. Sorry. Okay. So for starters, the first thing I can do here is I look at this image and I think it's absolutely beautiful. I'm now free to lift this hand up. So I've got one shot there. I can lift this hand up and just come up on butin. Now you're not cupping the face and leaning on it, okay? It's a long nick. The chin is predicting Ford and down constantly. All you're doing with this is framing the face with it. So at this point here, I have to I have a beautiful shot, This one there you can go around the neck and then this hand can come into and it can go up and under in your elbows can both go on. Okay. And I've still got beautiful shape. Three. I can start using the shoulder and bringing the shoulder in, and I can come around here and stop changing my position, for I can bring this foot around so this foot can come here and her whole body can come here. Your elbow can go against their your hanging up on the back of your hip and then all the way around, any down a little bit, working the front shoulder, long chin forward and down. This way I can create that really fashion quarterly, Kicking your booty out this way, making that elbow because you need a little bit more height. Here. You need a little bit more height to make that work and then working the shoulder forward. So as soon as it shoulder comes forward, the chin comes down and you've got a fashion quarterly Personal. As I'm flowing through these poses find shooting, say, two sisters or a mother and daughter or a couple at any time. I can add somebody into this, so let's say I'm him. Mom and I can come into the shot. At any time I can connect into all of these shots. I can come and stand up behind the burst or I can flow pose I can connect in. If it's a guy, he can put his arms around here. If it's a girl, they can swap over and the guy can sit down and she can lean against his back. They can kiss, they can laugh. Every single one of thes poses his Eddins, right. I'll go for another flow. This time I'm gonna use a lying down flow. So remember, we're not looking at composition here. We're looking at direction only. So we're just gonna try and get some different stuff out by just changing at one thing. So trying to make until I'm a few Because, um yeah, okay. From here, I want you to stand up and I want you to lie on your tummy. Die quickly this way, right? That's exactly right. So the first thing I'll do is I'll put them diagonally along a couch, But the couch is 45 degrees to me. So if I'm shooting here, the couch has turned away from me because everybody is 45. All the posters of 45. They never flat well, every now and then, like 5% 2% of flat. And they never long ways away from me. That always 45 so I can see the flow of the body going away from me. Okay, so from here, count, like, um, count my captures Taliban. Okay, I won't count them in case you keep a checkup, then Alright, What I'm gonna do is I'm gonna put your left hand straight down away from May. Yeah, that's not that Fire. Come back better and your right hand goes across. All right. I want to cross over the hand. Said that there away from May on. I want you. Actually, this quite a short couch. So you just need to slide back yet. That's it's a hen. Stay on. That's it. Perfect. Okay, Now, what I want you to do is work your front shoulder forward and work your chin down to that shoulder. Okay? Said there's one captured there. Okay. From there, I will turn the camera horizontal sorry, vertically, straight and hit out. And bring your shoulder and chin together there and just give me a tiny little smack too a cave. Now what I want you to do is I want you to roll up onto their hips to keep your elbow still and just bring this knee. That's a tactic foot behind your kidney. That's it. Now, that puts lots of shape into the booty. So straight away that gives that beautiful hour glass while you're lying down. Okay, Chin down this way. And I want your eyes down your body line three. Okay, eyes up to May. Working that shoulder forward. Okay for this Albergo. Straight out this way. Okay, in this one comes back this way. So I want Bella hands in the front, and I want you to lift up really tall shoulder forward. Chin down to that shoulder. The air five from the I want you to take your fingertips to the bag. I want you to slide your elbow out to the corner. I want you to take that hand across a little bit more and let it hang. It's a goat. Now bring the shoulder forward, working that short afford, and I'm gonna go closer and there's another captured there. Okay, So this how many do we just take them? Okay. So we just took six beautiful frames just with simple movements, like lifting up their backhand, stopping them over. Then what I can do is slide back, so you keep your elbows on both hands, go forward and you stretch share a little bit more, and I would need to bring your chin here and I'll come in nice and close in nice and low. Then I can bring their hands up like this like a sleeping position. That's it. And I want you to work your shoulder forward towards your chin. To actually take your weight onto here aren't your rest. That's it, and that's it. Bring your shoulder forward and I want your eyes down your body line like you're sleeping. Looks beautiful in lingerie. Looks beautiful, naked. Looks beautiful, you know, it's just that it's a gorgeous line, good spotting line. And if you want to lift the bomb up, you just bring the knee in so that the baby kicks up that way and it looks gorgeous. Comes straight up onto your stomach and bring it elbows together in the front. Bring your chin down and a beautiful big smile. Now when I see an Ottoman like this. I also see not only the ability to direct that lying down pose. I I see the side of it so straight away I want who to sit off the side and use the back of it. Now, any position where she reclines, any position that she reclines is gonna be slimming on a body line because the whole point is that we reclining. So the idea here is I'm gonna use the Ottoman is now a floor stated position. Scooch Obama way. That's it. Now turn your shoulders 45 away from a put your hand on your thigh. Yeah, and slide it back, lifting up nice and tall through your back and shoulders working this front shoulder fortune around this way. Stop! Can you hear that? Okay, so that is a control post. So it's sitting out bum away from the cheer elbow while lifting up through the shoulder. Bring your chin around to that front shoulder hand on your thigh. Slide it back. Stop. Okay. Said how I said that to you all the time, right? Stop! Good. Gil, stop! Okay, That's how much I want you to stop and listen. Then at this stage I'm going to connect through my expression. So I'm gonna bring my chin down. I'm going to start looking at here with the eyes that I want you to give me in the shot. And then I'm going to start trying to control the expression that she's giving May from this side here, you can scratch back to the couch a little bit more. So we've got one shocked open, and I want both elbows. Aunt's. Okay, So I can shoot this shoulder forward and bring your chin all the way around to me now to I can even slim that down by just coming above the eye line. But we're gonna do curves tomorrow. So curves kids is everything I do with something special added. Okay, so from here, this knee can come up. So you're right knee yet and I want your right hand to go straight across now. Straightaway. You can bring the shoulder in, intern your shoulders away from a and bring your face around to me. Here. I've got this one. I can use fingertips and lean forward. I can bring the chin this way a little. We but more from there, I can drop that knee down. Bring this hand across the front two in towards May and lean across A soon as you lean across look at the shape to her body and making every time she moves. Her body makes another shape, another beautiful shape and everything. She does her arms moving away from her body. Her arms are being slimmed. She's leaning, She's reclining. She's creating an hour glass in her body, and she's creating space Now. When you put triangles and images, they're more interesting. So you always trying to create angular triangles, arms out these triangles, all of these triangles, air space. And when you put space around the body, the poses look incredible. So when we re create the poses and will go life you on the camera so that you can see it tethered actually being shot, you'll notice. Look for the triangles because it's the triangles that make a big difference.