Skip to main content

Glamour Photography

Lesson 3 of 36

Live Demo: Flow Posing

Sue Bryce

Glamour Photography

Sue Bryce

Starting under


Get access to this class +2000 more taught by the world's top experts

  • 24/7 access via desktop, mobile, or TV
  • New classes added every month
  • Download lessons for offline viewing
  • Exclusive content for subscribers

Lesson Info

3. Live Demo: Flow Posing

Lesson Info

Live Demo: Flow Posing

what I want to do is I'm going to show you a life you off capturing each flow pose but before I do that I need to teach you how to do it so it's so easy to say this is how it all the rules and now I'm going to shoot it and then I go bang bang bang and knock them all out and you're left to stand there going okay but I need to learn how to do that so before we go to a live view on the camera where you're actually seeing my camera angle I'm going to shoot here without taking a photograph so I'm just going to demonstrate to you how I would flow through just different arms poses I'm using all of my body language and everything that I use right now so that you can watch it so and I want you guys to come up and try something if you want to try something if you feel keane story you want to learn how to do it or you want the guys want to give it a go see if they can feel the same way so what I'm gonna do is I'm gonna get smarter to come up and stand just against the wall now the only time I wou...

ld ever shoot flat against the wall is the only time I ever shoot head against the wall as if I'm doing sort of you know I do a three quarter fashion type shot where I freestyle them into the background but she is leaning on the warm so I'm just going to go through some flow posing just basic using all of my rose I'm not going to think about it too much and was going to do it so you can watch it any time I want you to ask me a question okay so I'm just gonna imagine that it's just minor and I and that I've got my camera here and I'm just going to talk her through all of the poses come up onto this toast I want you to marry me and I want you just to do an up and down that's it now I want you to really fall out into that hip and drop that shoulder down there it's exactly right pushing a chin towards may or cem so there's my shot right there straightaway I'm gonna turn this foot 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 shoulders so pushing your shoulder forward and up just a little way that more that's exactly right now keep going away from me said that you're looking over your shoulder there and me and that's my mother but they're so I've already got three really beautiful shots come back to the halfway pose and this time I want this hand to go all the way around it's the lower part of your back I want you to kick your bum and even further and I want you to bring this hand up and draw a line across your two color tattoos stop okay so right from there and then I want you to look down so your chin is long and down and your eyes go down your body line there okay so straightaway there's five beautiful shots and all I did was changed here angle from here to there okay and then I bought her hand up to fill the frame any questions your college tash okay yeah color ball yes your diamonds yeah it's the whole your dick allah tash is your color okay yeah say that's basically across that area so when I said sweep your hand across your dick allah taj what I wanted was to not just have a club hand up here I wanted you to touch down and create that line in that shape by sweeping cross so I want movement but when I shoot it it's still ok so from here you go back through and photoshopped out like because I know what when I do like this I get those wrinkles right here do you go through a photo shop and make homeless invisible like this bring cline yeah the lines writing like if she bothers me in the end if it doesn't I don't know yeah 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 want to see your fingers on the outside of the ring here okay so when we do our cover girl pose I want one up one down just slightly I want you to really kick out onto him long chin forward like a tiny little smoke into your eyes okay from here I just want you to bring this hand up first onto your shoulder okay so you're albert comes all the way into your body line and then you just take it out to their ok from here I want you to bring this hand up to your face a case I wanted to cap you 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 and 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 there taking out there so there's 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 cool down I'm 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 asymmetry so I'm always looking for one up one down always pushing that if she loses that shape in her hip then if you come straight up now 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 so at this point now she's done about as much moving as she can because if I move here lived I'm repeating the post from the right side got it so I'm gonna move right it's a photographer I'll go to here now this gives me an entirely different body angle this time exactly what you're doing but change feet so now her hips going that way and all of a sudden her chin is coming down this way now I love this straight away but what I have to do is I've got a club arm against the wall so I'm going to bring that up and just touch it to the air I can't keeping the elbow they're the most important part of this shot is to be able to see this space in here okay so if I closed it down that becomes who wit and that is not an hourglass it is not flattering it is not slimming as soon as I bring her hand to here now that is a vision off their hand on the waist you know it's pulling the am away from the body lengthening the front arms slimming through here but what is doing is just taking it away enough to take the weight off it so it's not against the body when the arm is a guy into the body and it's squashed down it looks like I call it league of him that squashes the arm down it does not look good okay so what she can do now is she can also move her shoulder forward so she gets his beautiful line in her shoulder and she can connect her chin down to his shoulder from this angle and all of a sudden that is you know you can start using your body language is I come around I'm changing my post now one of the most obvious things is here is I'm shooting her side on and who bombers again the war buddy shoulders air off so I'm going to swap them around I'm going to push your bum back I'm going to take your weight onto her right foot so your right foot step out step out of the air and then the left foot comes up now as soon as I change the weight off her feet in her bottom half kicks away from me then all of a sudden I've got all of this space here and I have this beautiful shape okay but remember we're not looking through the camera yet we're still just flowing so from this I'm going to shoot this here and I'm going to bring this hand up onto the thigh I'm going to slide the elbow up in back okay now that is one of the most important moves that you can do from the front probably better on this camera angle and because if you're seeing this angle from here if you have your body and your arm is out on the outside then that becomes the width of your body right if you slide this hand up your thigh and tuck your albert beck to here then your elbow naturally create an hour glass from the front case it's very important that whenever the hip is out that this um is around here can you see the difference okay so when particularly in a dark clothing or any clothing any blocked color if our arms or by our ways that becomes a waste if we move our arms away from our waste and that becomes a new waistline so we're always trying to ice a hand onto the thigh slighted up albert goes back the natural thing that everybody does here is they slide up and pin the shoulder bet everybody does it so the idea is that you relax your shoulders down can goes onto the thigh slide up elbow bag and then you've got an hourglass so right here from the front I still want to see this hand on I still want to see the shoulder but the only thing I'm going to see between hero and his shoulders hubris lining here waistline right okay so from here I've gotta de dam in the front so I gotta put a slight being down there and I just say touch down there because what that does is that enhances his hourglass 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 forty five degrees for the leading shoulder or I can come around all the way around and photograph this different ways what I can do with their hands here is keeping the body there I can hold elbows okay so we hold elbows just below the breast line and now this transfer take the way don't you shoulder let's transfer our feet and just kick out booty back and as soon as you kick the booty back there I get this beautiful hourglass lines shoot straight down the wall okay so how many shots have we taken from around the turn now yes he got fifteen good shots so if we're controlling the expression with and we're using our composition so we're going in and out without composition we've got fifteen sellable shots and she has not moved yet okay so let's do that again let's do that sequence again let's count the shards but let's do it on one flow so I'm not going to talk to you about it I'm just going to count the photographs in case I'm just going to take them and you're just we're not trying to look at shots here we're trying to look at how I'm flowing imposing and directing here this is really easy to learn okay from here um I want you to come up onto this time and bring this knee across and I want you one hand up one hand down so about here working that body forward that's it long chin towards may little way twinkle in the eyes click beautiful from the and I want you to tune out I want you to drop your knee out there I want you to push your beauty that I want you to slide this hand around I want this hand down to your thigh and I want you to work that front shoulder long chin forward two I want you to ten turn away from me I want this hand to come long I want you to bring your chin around to me and work that shoulder forward three I want you to turn back to the front I want you to do a really high hourglass nice close cover girl shot chin forward I'm going to get the fan I'm gonna blow her here she has long here okay I'm gonna take a nice crop nice and tall through the nick drop your shoulders down long chin towards me and I'm going to shoot it slightly asymmetrical because it's the only time I ever shoot uh symmetrically with hands I'm asymmetry calling my competition four from there what I'm going to do is I'm going to get you to just touch down a question to color tache the outside of your shoulder five give me a beautiful smile six okay from here I want you to bring this hand up and just cut your face push into your boo blind that's a girl okay straighten you hit up to may straighten it this way bring your chin around you just want me to touch that's it so about there now long chin towards may just tip that way a little bit okay seven I want you to bring this in and just touch up to here I want you to really work your body that's it eight and then I won't need to look down beautiful big smile guy kick it out cook your nine okay from here I'm going to come around to this forty five degrees I want you to lean on your shoulder against the wall in the back of your shoulder I want you to transfer the weight of your fate okay kicking out that way I want this hand to touch you thigh and slide back elbow bag I want this hand just to touch the bottom of your bomb that's it and I want you to work that front shoulder and long chin forward and we're it nine nine bang nine I want to come round here I want you to put your shoulder back a little weak the more I want youto wit this shoulder forward and I want you to bring your chin down I'm going to come out quite close and shoot that here ten now what I want you to do is bring that back hand up and just slide down to you to carlitos there and bring your chin around keep that albert back that's a lot to shape now I want you to transfer the weight of your feet only to there okay bang we live in now I just want you to bring your elbows together and I want you to pull away from the wall just a little bit and open your upper body up towards may twelve okay and that is twelve without changing expression or composition that was twelve different body lines just from one circle around here so now if I cropped this one here and she doesn't sixty shot here and I crop it almost a three quarter and then I come in nice and close and get their eyes down with a big laugh that's technically a second shot second shot same hands same body position okay let's do the same thing lying down actually no let's just it lifted at first so I go and get it to change her outfit I might change the background color if I want and I've got a bastard all and I've got a as for still like this the idea is what I'm doing is I'm trying to create labels I call it staggering when I stagger her body position she can bring her arms and legs up into it if that foot is down there fled and let one is up there and the idea is that this is high as you can be on your toe jump e somebody painted it in it's just a guy when you're doing this are you do you have your camera on a strap or you like just putting it down picking up bring it down I have it on a mono pod okay with feet like my mom ipod has dolly wheels yeah no because you can't take your hand off so that's a video camera you can zoom in using that the bottom of my part but mine is a mono pod on dolly wills so it doesn't take up much space and mice in a small shooting space like this I can take my hands off but I also have some the strap so if I'm not in my studio I don't take my money part then I'll take the strap but if I'm in the studio then use the money thank you okay so from here the idea is and this is something that I that I wanted to win straight away when I started doing portrait posing you know when you sit you take a photo of people sitting and it just seems to be the same pose everybody's upright and what do you do with the arms and it's never slimming it's never slimming through the torso it's certainly never lengthening for anybody and also I wanted to know when I looked at images in magazines how did they fill the frame up with arms and legs like how was it that you could bring arms and legs up into a shot and make them look natural without doing the old portrait roles which was this this is not holding the jacket harding the hand under the chin I think there was even what were the other ones are come on john tell me what were the the old stuff they were five okay so is that this might have been a oh yes I can he was double up here on the double up there I still do that by the way now I put that back I'm bringing that back 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 bill is she is going to post the better she's gonna post for may because she isn't thinking about what your body is doing and she is not thinking about her photo being taken and she's concentrating more on what her body is doing and the whole idea is to make her as long and as slim as I can everybody no matter help whoever you are no matter how short you are what we're trying to do its length anew and semi down everybody there is a reason that morals and nearly six foot tall and half their body weight because you can turn them on any angle and they looked long and their 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 niece and then I bring the elbows and 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 hourglass even when I'm sitting down assume as I bring the knee into play and theoretically I would like a little bit higher so what do you think I'm just gonna use that just for yeah okay 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 a 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 tio just capture that spackle so we're trying tio create that now can you see assumes we put a handsy these 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 the status the food 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 cutting 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 of a beautiful shot and 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 khun both go on ok 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 start changing my position for I can bring this foot around so this foot can come here and her whole body can come here you're all broken go against there you're hanging there up on the back of your hip and then all the way around and it down a little bit working the front shoulder long chin forward and down this way I can create that really fashion quarterly so 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 post as I'm flowing through these poses find shooting say two sisters or 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 the's poses his eddins we're going to get don's tomorrow right now it's all about the girls so we're trying to flow through all of these when I'm here I go back to the start again I love this pose hear that looks naked and see for a non boudoir portrait photographer I love this pose when you can just do this and underwear because I don't photograph anybody naked everybody's either wearing a strapless bra or they wearing a g string or just underwear and I removed the sides on fish are but I love this pose when you bring both knees up and then you come up high with this one so point up and then you can bring your arms and here I love covering in the breast line and the underwear line with hands and arms and that it's a skin shot like I showed you before it's one of my all time favorites and the fact that you can bring hands up and sit also we're going to do curves tomorrow I'm shooting kids but jump out I'll be the kid's skill for six the most interesting thing about curves is curbs often have big boobs and in the sitting position this sitting position works for curves but the problem is is the boob city of fear you know and it crowds the plate and it creates no space so what we do with boobs as we pushed the arms forward in the boobs back and as soon as the boobs drop away you create space through the midriff and when she creates brace her here it's instantly slimming so if you have big boobs in their app and here the idea is you're pushing elbows ford ford so what food is to the camera and what goes back slims down so if the boobs pushed back and the arms go forward and then the chin comes forward then you create a more slimming pose even when you're sitting down so even though this still is limited in terms of posing to the wall it gives you an entirely different feel because it can really bring arms and legs up into here and this lots of things we can do without arms that make this sitting pose really sixty really fun really fashion that you can flow through including turning all the way around now how I flow pose okay um I going too fast ok any questions yes art do you work this quickly when when you are shooting yes if I sometimes a half day right yet you know what the only thing that slows me down is if people can't do what I'm asking off them and then I will stay there until I get it so let's say some owners and oppose here and I get this hand up and then this one here but it's just not working for me I'm not feeling the hands or anything I'll just go I'll just keep working them through it and I just keep talking them through it and I'll take another one and I know it's not working but I want the shots I get keep pushing it out so minor work your chin towards me something that I say that you'll hear a lot uh special with may is when I'm directing people very very very important these these air pad of my rules package but these this is part of my personal little package and that is it's not sweetie darling gorgeous wonderful sweetie darling gorgeous honey honey bunny sweetie q t sixty you know you are not those things you arm up wanna o k u r t y and us sandra and you are amanda and I used your names throughout the entire shoot the only time I don't say who you are is when I see you're a good girl good girl good girl okay so I say good girl I don't know why it just rolls off my tank but it's better than wonderful darling darling gorgeous sweetheart darling my darling whatever it sounds so wrong you were there to connect to a client and you should call them by their first name everybody knows that when somebody sees your name you feel more important another thing that I don't even want to hear is the reinforcement that you're giving your client through the camera is posing reinforcement okay so it's a really good girl good girl working at you're doing good you're doing good it is not gorgeous amanda gorgeous oh my god you're so gorgeous darling oh gorgeous gorgeous nothing reeks of bullshit mohr than bullshit right so I just I hear that and I just think oh like it is not your not sweetie gorgeous darling gorgeous if I put my camera down and I want to tell amanda she's gorgeous I'll go up there and I'll say oh you sure hear and I'll say amanda you look incredible do you feel good you know you look amazing I'm not going to sit there and go gorgeous amanda gorgeous wow gorgeous it just sounds like crack and it's not really ok I do not identify body pats I do not say I gotta maybe your sari thin that's not a compliment there is not a compliment to somebody a compliment is when you look in somebody's eyes and say you look incredible you look beautiful right now and you mean it if you can't compliment somebody don't say it and don't throw out their gorgeous your darling and don't talk about people's bodies okay because I've bean in a room where four photographers were shooting a girl and somebody said oh my god your seif in to the girl that were photographing and I went whoa that's not a compliment she goes yes it is I just told her she had a great body and I said no you didn't you said you're so thin for status all the other woman in the room instantly thought and I'm not secondly the girl sitting there is that a compliment you're so thin maybe all she wants is boobs and hips and shape you know it's a compliment is we gotta be really careful with the way we complement the way we shoot so there's no sweeties no darlings no nothing like that and so I try to keep it I'm quite serious when I shoot right do you think yeah I'm certainly not fun all the time I'm quite serious I've got a job to do but more importantly when your self conscious I've got a job to do and I've got to take control of you and you're going to get out of my control really easily if I'm being silly question from radiant do you discuss but body issues with the women before you shoot um women are a spewing volcano of emotional mess they walk into a shoot and they go like this oh god I'm so nervous I'm so excited I'm so nervous these my clothes I know you told me to bring four out but I bought twenty three but I've got nothing to wear I really don't like my here at the moment although my color and regrowth probably needs to be done and I put on forty pounds well actually our last fourteen pounds but then I gained fourteen pounds when I lost twenty eight pounds because I used to be here for a bit anyway and then after I got divorced I lost tapes away but anyway I've since put it back on again and and they could tell you what they don't like about themselves usually in the first breath of meeting them because what they doing is telling you what they're afraid off and so they'll walk into the studio and they usually let rip with everything they don't like first and I used to when I was younger counter wrecked that I used to counteract it with uh but you're beautiful or you this so that you're that now I just listen I listened to what they don't like or what they're worried about if they tell me they're worried about their ways I makes your imposing slimming gorgeous I mean I do that with everybody anyway but I make sure I'm hitting the but they I don't like if they don't like their chin I'm pushing it forward and down do I talk about body image with every single woman I photograph I've had that conversation over five thousand times it does not matter unless they are under about eighteen and I've realized this is something we grow into because teenage girls very really will talk about their own body image even if they're curvy teenagers or they've got bad skin they don't stand there and tell you about it they might be a little shy but they don't need this feel this need to discuss it but women do women want to talk about it they just want to throw it out there so yeah it is a conversation that I have constantly all right so any other questions before we move into a lying down just a quick comment from jenny brauer you're genuine spirit and honesty are so refreshing thank you because I see devotion tinny people said that was the quote of the day for sure but I did I did have a question about your none of your items here your chairs have arms yes and so it would you shoot with those as well or do you prefer yeah these three items the wall that they bass tal and the ottoman are all three key items in my studio because I want items that a nondescript and what I really want them to not only be nondescript I want to be able to move around them and photograph on them the only thing missing from a would be a cheer like this one but this one would have been perfect if it was wider and deeper so if that ultimately had to be in my studio I would have a wider and deeper cheer there like that and then it would make up the three sit really beautifully a wide deep cheer a lying down ottoman um a bastar and in the wall because those are the four positions that I will use constantly and the ottoman can be a beard it doesn't matter it could be a single bid it could be a blowup beard whatever in your studio but an ottoman is really really good something slightly bigger than this would even be preferable but I'll work with anything similar so what I can use from opposing manual so this afternoon we're going to actually recreate images from the opposing manual using all of this furniture so um I'll go back to flowing but if there's another question I'll take that how much conversation happens before the shoot our duty you kidding me I talk underwater I talked when they come in what I try and do is when they're having the hair and makeup done I try to leave them alone because they want to talk to mae and I want them to connect with my make up at us because I always hae a makeup artist that is still and really relaxing did simona reelection when she did you hear makeup did she make you feel calm that she touch your face in a way that you read a health spa that was so beautiful and you enjoyed having you here makeup done and did she make you feel in that state that by the time you stood up and walked into the shoot he was already got you there right now if I had a pain standing in the room you would have been chatting to me the whole time time you and smile it would have been trying to do your makeup because I'm the alpha female in my studio and I'll take control when I walk into a shoot and I will go over the top of the makeup adis once I walk in the room so straight away if I'm in there it negates what she does which is so magical and that's to put you in that beautiful state with you here maker so that I can then take you and then take photographs of you from the second I walk in and I do not stop talking I talked through the whole shoot until I usually let you leave and then I just sit down and go somewhere quiet place I go to a quiet place for twenty minutes I tune music off if this be music in the shoot and I just gone to complete silence for twenty minutes I re gather myself and I go back into it again so do you always use music in your chutes no actually I preferred no music I think you should only listen to my voice and it's it's more of a command and control way of posing I know that everybody has this fabulous idea I will address this to the world I know that you all have this great idea that we're all on this rock and roll is it just going well flo pacing and yeah work it it were taking great shots of you and everything is just rocking and we're like yeah making it happen but really it's more like this ten fortune fortune ford stop shoulders back shoulders back kick to the side to stop reset chin forward eyes to may I know it's hard to keep going you're nearly there lift their hand up toe workout if one says they heard the next day I want to control my beauty images um imposed right down to the last twinkle in your eye there is no there is only one time I ever freestyle I call it freestyling when people are free styling without a proper and then moving and I'm going to show you that tomorrow it's what I do a dancing sequence and it is the only time I freestyle right any other christians before I move on wave on lots of questions but we'll ask a gun because I'm trying to drink order you can come up with lots of questions for you in the audience uh somebody was talking about fan and how often use that in your shoot you mentioned during your flow posing you like if she has long hair got the fan and then you quickly moved on so everybody at my will move in slow motion with a fan if I had my way absolutely in front of my world would be left with a fan blind they're here you can't blow banks ok so we call it a fringe uh if somebody has a straight friend she can't blow that just sits straight up like that so whenever I see uh short here medium length here neither of you have blowing here for mae blowing here is along here uh it is one of the single most things that um sandra we didn't put the fan on sandra because she his kills that comes down into her face and they're not made to be blowing out but mapo anna and amanda both had the fan on them the whole time t why I did it because we change to his styles how often and again here that does not blow you got here that does not blow cisa so that's just the way it goes we don't block it so when I have long here yes oh my gosh I'm smiling follows him around with that here drive because it's warm warm here I know that you could get professional fans that blow here but nothing blows like a here dr it's warm here because my clients are normally phrasing I'm warm she's in the single it I'm shooting my body temperature is already high you know she's called sy uh question from luna rosa is it important that all the furniture is white or what do you have other colors everything in my studio is white but that is not a preference that is my personal choice I want my images to be about here not about the chair she's sitting on although when you shoot four hundred portrait's in a year on a white couch you get very bored all right that is my signature thing I don't know why I just keep resetting toe white I like white walls are like what concrete sure I do try to mix it up lately I've been shooting in those warehouses and they're all grungy and doc you know I'm sure I'll get bored of that ear like that I'm sure I'll get bored of that too but I do try to mix it up but you're white a lot of white that kind of goes and into the next question spot on picks one brain if you're shooting in the studio how do you keep backgrounds and props from getting over used you joined you just clean them replace them paint them buy new ones they're worth their weight in gold yeah good properties with its weight with what you buy it for and uh arianna ni allah if you're going for twenty five perfect shots is that her outfit or a total total I want to sell twenty five shots I want to present twenty five shots I want them to buy everything I show them I want them to be twenty five different shots four or five different outfits okay right ok 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 staff out by just changing at one thing so trying to make until I'm a few because um yet okay from here wants you to stand up and I want you to lie on your tummy diagonally this way right that's exactly right so the first thing I'll do is I'll put them diagonally along a couch with the couch is forty five degrees to me so if I'm shooting here the couch has turned away from me because everybody is forty five all the posters of forty five they're never flat well every now and then like five percent two percent a flat and they never long ways away from me that always forty five so I can see the flow of the body going away from me okay is there from here count my um count my captures tobon ok I won't count them casey you keep track of them all right 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 a better and your right hand goes across all right I want to cross over their hands so that there away from me um and I want you actually this quite a short couch we just need to slide back yet let's see your hands 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 capture their came from there I will turn the camera horizontal sorry vertically straight and hid out and bring your shoulder and chin together there and just give me a tiny little smith 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 it tack that foot behind your kidney that's it now that puts locked to shape into the booty so straight away that gives that beautiful hourglass 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 before this albergo straight out this way okay in this one comes back this way so I want bella hand's in the front and I want you teo lift up really tall shoulder forward chin down to that shoulder there five from there I want you to take your fingertips to the back I want you to slide your elbow out to the corner I want you to take their hand across a little bit more and let it hang that'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 about 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 have keep your elbows on both hands go forward and you stretch a little bit more and I won't 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 chance to actually take your weight onto here it's aunt 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 it's a gorgeous line good spot in line and if you want to lift the bama you just bring the knee in so that the baby kicks up that way and it looks gorgeous come straight up on to stomach and bring it elbows together in the front bring your chin down in a beautiful big smile so you can make their hands look quite relaxed so when you're posing somebody say under eighteen and you don't want the booty up and you don't want the sixty cleavage and all the rest of it that's when we shut the body language down so you rolf led onto the belly cross your ankles and you bring your knees up because that's his little girl doesn't it that's his little girl that's his six kids and we definitely want to make that distinguished when we've got young girls in the studio because we don't want sixteen or fifteen or twelve year old girls in those sixty positions then what we do is we shut down the dick allah taj ok so we take away from her her femininity by shutting down all the areas that we don't want to show okay and then she lies flatter down to her breast line because now we've taken away her hips her hourglass her diamond and then we bring her chin around and we've got this gorgeous young girl looking straight at the camera to us so we shut down all the sexiness in the femininity that we were creating with the pose we shut it down for girls okay so the opposite for boys everything we do the girls bringing the line into the body hugging the body line touching everything we do for girls we do not do for men men do not bring their elbows into their body they do not kick the hips out they do not bring the chin ford in fact they reset toe on open masculine position with a chin up because it's more masculine they have their arms away from their body not into their body and they do not touch down on the body line at all unless it is folding their arms holding their own legs or putting their elbows forward with their hands free okay so the complete opposite to woman's posing is how we post men okay so from this position here now imagine that that's my window light okay this is my natural light studio and there is my window light so I would have sharp some minor hopefully right on light no stadium just kicking but I would've shot him right on the window light okay I would have had a really big reflective right here and I would have started to shoot that whole sequence here so I've got this beautiful light hitting here I've got one reflected there but the first thing I do is when they can't move one hundred eighty degrees we move okay so I get up so if I say anything to photographers it's get up keep her in the pose get up and walk this way because now I'm shooting straight back into the curtain into the white light and all I do is shift her body position to accommodate it so she swaps knees she puts her right hand out left hand goes here lifting up tore through the back and neck chin around shoulder forward and all of a sudden I've changed the entire mood of my image and I'm shooting into the backlight and all I have to do is move a reflector with me so get up and move around move one hundred eighty degrees all the way around to a half circle around your client until you save five other compositions now when I see an ottoman like this I also see not only the ability to direct that lying down pose I I see this side of it so straightaway I want her to sit off the side and use the back of it now any position way she reclines any position that she reclines is going to be slimming on a body line because the whole point is that we reclining so the idea here is I'm going to use the ottoman is now a floor stated position scoot your bomb away that's it now tune your shoulders forty five away from may 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 said that is a control post so it's sitting out bum away from the cheer elbow on lifting up through the shoulder bringing your chin around to that front shoulder hand on tooth I slide it back stop okay said how I said that to you all the time right stop good girl 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 going to bring my chin down I'm going to start looking at her 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 khun scrooge back to the couch a little bit more so we've got one shot tobin and I want both elbows on okay so I can shoot this shoulder forward and bring your chin all the way around to me now too I can even slim that town by just coming above the eye line but we're going to 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 need yet and I want your right hand to go straight across now straight away you can bring this shoulder in in tune your shoulders away from me and bring your face around me here I've got this one I can use fingertips and lean forward I could bring the chin this way a little weed but more from there I can drop that knee down bring this hand across the front two in towards may and lean across assumes you lean across look at the shape of 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 of being slimmed she's leaning she's reclining she's creating an hourglass in her body and she's creating space now when you put triangles and images they're more interesting so you're 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 recreate the poses and we'll 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 the big difference

Class Description

Short on time? This class is available HERE as a Fast Class, exclusively for Creator Pass subscribers.

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.


Michael And Dawn

Dawn and I watched the workshop taught by Sue on glamour photography with much anticipation, and we were not disappointed. In fact after only the first hour we turned to each other and, at the same time, said "We should go ahead and purchase this course." Which we did on Sunday, the last day of the three day course. The CreativeLive team did a great job on producing the workshop, the set looked great, the sound and camera angles were unobtrusive as they should be, and the on-screen talent were engaging and approachable as usual. They interjected with questions from the audience in a timely and relevant manner, and humored us all at times as well. As it should be, the real star of the workshop was the information that Sue was providing, but a very strong supporting role was Sue herself. Even though she never made it past the 9th grade, she displayed enough wisdom to make us think that we wasted a lot of time sitting in school. Sue had both Dawn and I captivated, her likable New Zealand accent, was so warm and soothing, that I think we would have listened to her say almost anything. However, "anything" was hardly what she had to say, no-no, she had a great deal to say, and we found all of it so educational and inspiring that we can't wait to put what she tought us into practice. Sue's "Keep-It-Simple" approach to glamour photography is refreshing, she does not complicate a shoot, nor does she complicate the business end of things either. Her philosophy is "A confused mind says 'no.'" So her pricing, marketing and re-pore with her clients is simple, understandable and repeatable. Dawn & I fully recomend this course to anyone looking to engage in glamour photography, not just for the mechanics of learning the studio process, but more for how to think about the process and your interactions with the client, we think that Sue's interaction with her clients is her real "secret" to her success; she makes the photography session for the client a wonderful experience and that experience is what gets them to market her via word-of-mouth exposure, which is the best kind of atvertising and best kind of accolade for a photographer. Thank you Sue, we were both entertained and educated and a little bit mesmerized by your workshop. Hope to see you soon on the CreativeLive stage. Michael and Dawn Mitchell Digital Mitchell Photography

a Creativelive Student

Loving every moment of this course so far and I've learned so much from Sue's gentle but wise words. It's so important to be true to yourself and as much as I've enjoyed most of the Creative Live classes I've taken I've had a much different personality than many of the teachers, I am so happy to see how Sue is able to stay calm and quiet and still maintain perfect control of the situation...I had huge anxiety sometimes at shoots thinking I should be bold, boisturous or entertaining to be successful. Looking forward to following her class today in between my son's hockey lucky my computer is in the kitchen and I can watch and still keep things at home fairly sane! lol thank-you, kerry

a Creativelive Student

Watched 80% of it live and after constantly screen grabbing :D I BOUGHT IT. This was my 3rd time watching a CreativeLive and my first time purchasing a course. (Loved Zach and Jody and will probably buy that when the time is right...still a little scared about weddings.) ANYWAY - SUE IS AMAZING!!! She is so open, inspiring, fun, funny, knowledgeable, TRANSPARENT, giving, smart, creative, expert, unapologetic, grateful, enlightened, adorable, gorgeous, hilarious, yet still imperfect and human and not intimidating. She will make you laugh and cry as she laughs and cries. You cannot argue with her MANY YEARS of experience. She is just in love with what she does and it is contagious. I have told people IN PERSON that her online CreativeLive course changed my life. I bought another online course for 2K last year...where was Sue back then? This is worth more than the 2K 6 week course I took. I obviously have a girl crush on her!