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FAST CLASS: Glamour Photography

Lesson 6 of 15

Twos and Threes

 

FAST CLASS: Glamour Photography

Lesson 6 of 15

Twos and Threes

 

Lesson Info

Twos and Threes

Let's imagine that Samona and Amanda are sisters, and they're doing a double shoot. So I'm going to go through the same sequence, the same secrets of shots as an ed on. Okay, this is how you have to be efficient in your posing. So let's say Samonas here on her wall shot. Okay? So straight away, Samonas there on her wash up. Amanda's getting dressed into here. Outfit. I photograph Samonas. Beautiful shop there. And then the first thing I do is I stand up a little straight up and sister come in. And what I want you to do is I want you to stand with your feet. Note faces I want Yeah. I want you to stand with your feet on either side. I want your arms around your waste, each other that I can't. So too May I want them is a V. I want the back shoulders together. Okay, very, very important. It's a bit of a boob squash for girls, but it doesn't matter. You don't want their body language towards each other, cause the's sisters, not lovers, and you want to open that their bodies because it's mor...

e slimming for them to be 45 to the camera. At this stage here, they've got their arms around each other at the waist. You do not want to see a hand come up and over here because everybody does it. I know that. Yeah, you do know. And everybody naturally does that. And you do not want hands high. So hands goal around the waist. This hand here can then hold an elbow there, and that connects them. Okay, So straightaway, they connected his sisters. And just like a couple, you've made it beautiful love heart. But a couple of joined at the hip. Okay, then I take a beautiful photo of Mom in the same sequence. So what I don't want to do is create three exactly similar sharks, but I want to shoot them in the same area. So I have a few choices. I can change up the pose. I can add a prop or I can stand all three of them against that wall. But I want all three of them to do something different. I want Samona to do a side on one. I want a mandate to do a front on one. I want Mom to do a recline. Okay, so at 45 take your weight on the back foot. I want you to lean with this back shoulder. Yeah, that's it. I want you to touch here. Good girl. And I just want you to push it. I'm out that way. That's it. And then dropped down here. I want your chin long and around here. Done. Okay, so then I shit, mom and a beautiful recline. My Looks great. Then I'm gonna do the same shot that I did with the girls With Mom in the center. The case is straight away. I bring Maman. Amanda faces Sandra. Okay. A semi's behind and straight away. This is really, really amazing. Remember how we post the three girls on the couch and we all had to get her elbows on the couch, and all of a sudden, none of us could bring our heads together? Well, exactly the same. If you come for Amanda. We're kind of shooting around the window. This is something I do in the studio, but we really don't need to be shooting around the window here, so it's come forward and show people. Yeah. Okay, So you've got three women lined up. So this is what I call traditionally the to to train when everybody brings their hand up like this. Okay. And everyone's like, on a little too to train. And you've got three little Thunderbirds going. Okay, So what we're trying to do is create some shape here. So the first thing that I will do is put your hand under there. You to Kentucky elbows. That's not a problem. So you can hold elbows. Okay. Now, straight away, our heads Airil fire part. And if I have to get the men, I'm going to squish him in too much. So what I'm gonna do is I'm gonna get standard to take your left foot out the back. Yeah, and I'm gonna get so watch this from the front. This is very cool. I want you to pull your bum back. Sandra, no, Back out here. Pull it back. Your whole bomb is going to step out of there, and these two are going to go in. Okay, so did you see that? So here. But we're not that far. You could you could be in the shot. Your shoulders drop in your chins around. Okay. You're gonna come into. But what it is is these two are gonna come around you. So basically, you know, we take out Booty back. All right? We want our baby back. Now. You got three key. If you have three curvy bodies, so everybody come back forward. Everybody bring everything back, Okay? I want everybody to push the bomb back. Yeah, so everyone takes their weight back on the back foot and then comes into straight away. You're doing exactly the same thing. Now. What you don't want to do is have a whole lot of people tipping forward like that. You know, like, you see that with the bridesmaid shot. It's about taking your booty out of the shot, dropping your front shoulder a little bit, but staying upright a soon as Sandra steps her body through back out and the girls and close here all of a sudden, Mom's skinniest one out of the great because we've made a daughter sandwich. Yeah, so I would be always more inclined to put curvy in the middle cave in the middle. Okay, because then you can just pull on through, so it always looks really good. I love that. You can see the get between Leader and Spiner. You know, I love that, that it's all black, but I still I actually like this too. So I want to create family portrait that are really contemporary like that and really gorgeous. That is not just for the girls. If leaders husband wanted to hop in, I would have put him with the minor is an input samona on the outside of him and done a family shot just like that Mom and dad connected to beautiful girls on either side. The same would apply for shocker. If we're going to replace later for Shockers husband and then have her daughter and his son there, I will do an entire sequence of a family shot like that. I don't have a problem with shooting on a plain background square to the wall, because if I changed up Simona and put Samonas, husband Graham and their two girls in and then I got leaders, husband and just a couple shot, and then I got the girl's sister, mother and daughters and then put in Dolly there brother and then shot Darling and his partner, leader and then shot checker and her husband and then therefore, kids, I'm essentially sold 12 incredible portrait's and all that down a state in exactly the same place. I don't need to reinvent the wheel every time I take a family portrait. When I need to do is take a killer shot of all of those people. You're great. Yes, that you don't have to go. It's not about taking the most incredible background or whatever. You could do that in the most beautiful garden. What people want is a visual representation of an amazing shot of their family feeling good about themselves, all laughing and feeling gorgeous. And you know, the first thing that they said when they saw that the first thing of because people at pleased to see a beautiful photo of themselves I keep it simple. Keep it really simple. Is many cheers that you have to go a different heights, the bitter. Because ultimately I can post three now like this. Okay, so once I have a three stack, I can do whatever I want with it so we can make these two together here. Okay, So they go towards each other and then what we do. What's really important is that we connect our hands to each other now. Often when I'll sit three people down, I'll get them into a position that I like. And the fish at IDEO is one that's quite Posey. So I'll do the best girls up like this. I'll do Samona leaning on her knee. I'll do No, you're not gonna. Merrymakers will be two wings out there. So you're going to just go over here, arm and down towards here, and I might be here, so I'll do a three C it then what I do is I say, bring your arms together. Whatever looks good from the front. So if it doesn't look good from the front, I change it up. But then what I do is a zai. Talk them through the expression. I bring them into more of a laughter, and I bring them one together so that they were laughing and leaning on each other. I might say arms around each other and they will literally find their own way, like somebody will grab this one. Shell held the hands in the front and they can do a beautiful laughing, see a serious together, and it looks really gorgeous. As long as you have that stick. So I call it staggering in the poses. And I've got bar stores that have, you know, help. You have the bastard with shape of the bomb, but it doesn't have a back on it. They're the best ones, cause the bum covers it, and they go up and down really high and really low. That image there has two of those bastards. And if you have a look at the back of it, um, you can see here with the bastards are that one is lower one is higher and won a standing. Okay, I will have a little half still like that, that you can sit down for a partner and you're going to sit down between his legs. Okay, So ultimately, the biggest mistake we make there is to put people directly in front of the partner. Okay. Two things we never do. One of them is three things we never do. We never put the girl right in front of the dying right in front. Like sit right in front of him. Okay. Why would you step people up like that? They can interact with their faces. There's no body language like that. So the idea is, she's got to sit to the side. And the easiest way for her to do that is to sit on one other sides. But I'd go this way because then your elbow can go on here. No, you figure that way to me. But I want you elbow over here. Yeah, and then ultimately, right over. So you're on this side of him, right? Ever. Yeah. So you're going this way. Okay, so then they can interact as a couple. Like he stated he slightly higher. You can't sit them down on the ground because even if guys are a little bit taller, if guys don't have a lot of flexibility through their torso. So if they're sitting down on the ground, they get shorter. And then the girl stood in front of them and they can't bring their arms up and over. The idea is that they want to be up and over so that they can put their arms up and over and bring the head forward. And then they can kiss, cuddle, laugh, interact. So I only ever go down to the floor like this with a couple assumes you in this position here, you can bring legs up. So this is one of the shots that I absolutely love for a couple because she could bring her legs up her arms up, and then they can interact together. Right? So I really like that. Another thing that's really important. We never at any time does he bring his arms underneath. Hiss. Okay. Here. Arms never go on the outside. You think that that doesn't happen, But that happens all the time. I see that so often and shooting. And thirdly, you don't have to do this one. Never. Is there any reason why he would become a human bra? Okay, if you're doing a skin shot and you want him to cover her brace line, he covers all of her boobs. But he does not hold a tit in each hand. If there is no reason for him to have his hands around here like this with a tit in each hand, it looks horrible. His foul body language and never Is there any reason why a woman would have a photograph holding it in each hand? Sicario am holding it. It It doesn't translate to a mood or oppose and There's so many poses you can dio skin poses where you don't show the breasts But you have got no top on that look beautiful that don't show nipples.

Class Description

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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.

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