Sue's Posing Rules
So I have rules and these are the rules. It's chin, shoulder hands, hourglass, body language, asymmetry, connection. These are sues rules. And it's really, really important that now that you understand my rules that you'll start looking through my photographs and you'll start seeing that my rules are consistently all the way through. So I'm going to teach them to you right now. The chin. A lot of photographers teach the chin at what to do with the chin. So I really need you to Maybe you might need to move. You need to see me that yet a lot of people need to understand what's going on with the chin movement and the chin. Movement is about pushing it forward and down. Okay, So all a few girls that were photographed by May for two days how many times did you hear me say 10 Ford and down. How many times A 1,000,000 chin folding down, pushing your chin towards May 10. 14 down. Pushing inching towards may Write constantly. It is constant. I must say it 1000 times in the shoot. So what I'm do...
ing here is I'm elongating the nick and I'm pushing the chin forward and down. Now a lot of people teach people to put the chin Ford and up high like this. Okay, two things that doesn't work. One is there's no definition in the chin line here, and we have small eyes. When the chin comes forward and down, you not only have really good definition through the chin line, you have big eyes to the camera. Now I cannot describe to you how important it is to push this chin forward and down. Now, every one of my images, you'll now start to see that everybody is pushing their chin forward and down. Now it's not a shoulder roll forward. It's not a nick row forward, okay? And it's not a chin up. If I get all of those, it's a chin forward and down, and it is a significant difference in a photograph. The difference is up to £10 if you can push a chin forward and away from the neck. So that's my first rule. My second role is shoulder. You will notice now and all of my images that we connect to the front shoulder the only time we're not connecting to the front shoulders when We're doing a cover girl posed directly to the camera and we using our shoulder anyway because we're putting a shoulder forward. So everything I do is connected to the front shoulder. Now, if I look at the camera now and, um, Sandra, just say my name. Call my name Sasae. My nine. Yeah. So if I look at Sandra this way and say my name again So when you bring the shoulder into play, what changes? Body language? Okay, cause if I look to the side and look to the side of the camera this way or I looked to the side of the camera this way, then I'm connecting to my front shoulder. So everything I do now involves the front shoulder. Okay, so whatever, pose your in your predicting and using your front shoulder in pushing your chin forward and down those two things alone creates so much mood and body language and an image. It's unbelievable. And they would be the two most important things. What not to do. Do not sit the chin on the shoulder. Okay, you mass. I know I've done that there, but she's doing it. It has to have some space Okay. Try and keep space between the chin and the neck at the chin and the shoulder chin showed a hands. So chin showed a hands. There are three types of hands in an image. There's a fist. So often pick your look down on. People will have a tight fist or they'll have their arm over somebody in a tight fist. You know, people hold teaching in their hands. Then there's the claw. I like the claw. Okay, You see the claw all the time, especially around the face. You get the clock, we get deployed here or you get this relaxed claw. So they're down here like this. And then there's the Thunderbird, which is my personal favorite. They said the fist, the chlorine, the thunder bid. So the Thunderbird is how rigid our hands go when we're posing. I can tell how experienced a photographer is by with hands are in the image. So I break a lot of hand rules from the old posing rules. I show the back of the hand sometimes, yes, I sometimes show it like that as well the club hand. But the truth is, is that I've tried to hold to the old posing rules but being more contemporary fashion as well and hands all over the place and contemporary fashion. So chin, shoulder hands outclass the most desired shape on a woman's body has an hour glass. That's how we made we go out. We go in, we go out or we used to, um, and by we tried to recreate that we're trying to recreate the AL gotten everything that we do. So what we're trying to do is create shape in the only way that you can do that is to move your hips. Okay, so we need to be able to move our hips. We need to be out of teacher clients to move our hips anyway, You can move your hips is to bring one foot up. So as soon as we bring one foot up, then we can shape our body here. Once we can shape our body in front ways and we can shape our body this way, then we can use our hands on our body, and then we can use our shoulder, and then we can tip out chin forward, and then we can start creating beautiful poses. So I'm always about up on one foot and come up on one foot and come up on one foot and come up on this toe and crossing that knee over because we're trying to create that shape in, Out, in, out. So I often tell people in my presentations there is a poll that I read where they got 1000 men to look 1000 woman's outfits and they just had to hit yes or no if they liked it. And there was one common denominator in all of the images that they loved. They showed the ratio between a woman's breast, waist and hips. It did not matter what size she waas as long as it showed that beautiful ratio off a woman's hourglass. Now, if men are triangular and we are hourglass, and it stands to reason that that is the most beautiful shape in a woman's body, and I'm trying to create an hourglass even when I'm sitting and lying down. So for May, that's all about the feet. So you create a waste shape by moving the hips and legs. Now when I gonna do is I'm gonna teach you about body language. So when we flipped with somebody that we like. We touch parts of our body that we want you to look at. And the idea is that you're creating the same thing with photography. You're creating the same ease with which they are touching their body parts. Now, most women cannot do this. Most woman will not stand in front of the camera and be incredibly relaxed. In fact, they don't. Women don't do this. And what you have to do is guide them not to pose their hands. So we don't put one hand here in one hand. Here. We touched the nick and we touch the here and we talked to the body without hands. Now, the rule here is when you're fluting and when you are using hands on your own body for body language, you never cross your heart because that blocks you. So if I was fluting with somebody, I wouldn't cross my hand over here because it's blocking. That's blocking. So I don't even block imposing. So I keep Remember the Diamond State open? So we pose around the diamond. Just imagine that there's an imaginary diamond here and we're posing around it and taking that hands all around here. We never touch our breasts. When you flirting with someone, there is absolutely no reason that you would touch your own boobs. And we never touch how stomach? Because that means we're pregnant. Okay, so if you see a shot with somebody with their hands on their belly, it's usually a pregnancy shot. And if you see somebody with hands on their boobs, or worse with their boyfriends, arms around them with their hands on their boobs, then you have made amazing opposing faux pas. And you can remove that from your website right now. Asymmetry. This is another one of my rules. My role here is that if one side comes up, then the other side must go down a k never in any to time imposing never at any time our way, um, symmetrical and are posing unless it's cover girl, which is that one there. And then we kind of rock out the symmetry by putting our hip this way in using our shoulders. And then I always shoot it slightly off center. But the idea with symmetry is, if this hand is down here than this hand is up here and if this one comes up than this one goes down. So I'll use the symmetry. So out touch points now, our diamond, anything around the diamond here, but nothing inside the diamond. Okay, because we don't really need to cover off hot. And then anything underneath it. That's not our stomach. So we can go down the sides of everybody here. So these air out touchpoints, right? And now what I want you to do is start to director clients to touch all of these outside points and use the hips in the shape of the body by just going through those areas. Now, chin, Shoda, pan shoulders, mirror May. So we're just a that this minor, the chin pan using the chin, pain center, chin and chin is the easiest way to pose anybody. But in order to pose body language, you do have to use a mirroring. So if you're a guy and you know you don't want to get into this position where you're showing mirroring, then obviously you just have to describe it so you can say, crush your foot over and you can sort of do it. You don't have to do the whole pose, but you can still talk through the whole movement in the whole pose. Okay. From there there is absolutely nothing. You have absolutely nothing if you have no connection. So for May, the same way that we mirror is the same way that I can make a connection. When I gaze at somebody straight into the right and and they will give me exactly the same look that I'm looking back at them. So toe hold somebody's gaze when you hold somebody's gays and then you tell them to smile through their eyes, they will naturally do that for you. What happens unfortunately is when you pick the camera, are is they go completely blank again. So I pose from the feet up. So basically, if I sit this post here and then I just I get into a position and then I say, Push your chin towards May. I can eyes down. And last thing I do is I make them look down for two reasons. It resets the face and they can relax their entire expression. So I tell them to relax their mouth. Most people will hold tension in their mouth straight away. Most people will hold all of the tension and tightness around the door. So if they look down and say election mouth and instantly their mouth ghost fully relaxed, then I can just say eyes up to may. As soon as the eyes come up to me and connect with me here, all I'm looking for is just that little twinkle. So all I ask for is a tiny smile in the eyes. So it's about having that little waste milk, and it's right there. It is actually an amazing thing. Toe watch that come forward and not everybody will give it to you or hold it there for a long time because it's hard to do. And so the easiest way to describe it is I'll tell you how I see it. You know, when you go into the bathroom and you do what's called your mirror face, you know, So there's nobody else in the bathroom and you're you're dishing up, you're here and you're looking in the mirror and you do your mirror face and it's here and you dio and somebody walks into the bathroom and you're like, you know, I like. Suddenly mirror face is gone for the boys the mirror faces in summer walks into the bathroom and they stole it. But for the girls, that mirror face is that face where you're completely Relax Your eyes have got that twinkle in your I'm always looking for people's Mira face. So I'm constantly looking for that expression in people. And until I get it, I do not have my shot. Okay? And we're a no matter what the poses, unless I'm getting some spark through the eyes and relaxed your I do not have it yet.
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Full-length class: Glamour Photography with Sue Bryce
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When you hear the words “glamour photography,” what comes to mind? Pink backdrops, feather boas, soft focus, blue eyeshadow and lots of hairspray. You get the picture. But thanks to master photographer Sue Bryce, there’s a new kind of glamour shot, one that’s beautiful, contemporary and taking the market by storm.
Bryce has hit on a formula that’s kept her portrait photography business thriving for two decades, and she’s here to reveal all of her secrets. In this three-day workshop, you’ll learn everything you need to know about posing, eye lines, hair and makeup techniques, and wardrobe. You’ll also get advice on building your own business and successful marketing practices.
Whether you want to focus your business on glamour shots alone or simply improve how you photograph women, this course is a game-changer. By the end, you’ll have the skills to bring out both the inner and outer beauty of all your female subjects. In this class, you’ll learn how to:
- Define your style, brand and target market.
- Market your business creatively and get yourself noticed.
- Figure out what women want and sell to those desires.
- Pose your subjects by following Sue’s rules: chin, shoulders, hands, hourglass, body language, asymmetry and connection.
- Use natural light to make your work more modern.
- Include husbands, boyfriends and families in your shoots.
- Create before and after shots.
- Make women of all shapes and sizes look and feel fabulous.