Glamour Photography

Lesson 10 of 36

Live Posing: The Wall Shot

 

Glamour Photography

Lesson 10 of 36

Live Posing: The Wall Shot

 

Lesson Info

Live Posing: The Wall Shot

the wall for mei would be the my significance opposing card that I have because in my studio it is one of the most amazing ways to pose on the back of this wall card there is not only this incredible shape here off this gorgeous sort of asymmetrical body with this girl with her on booty back then on the back we have this amazing little scenario here we have a mature woman just so you know mature woman is kind of like saying plus size um I look at it like this there are sort of sixty portrait's and then there's the family styled contemporary portrait but for may anyone over forty or fifty is elegant porch it's I call them elegant portrait's because I think that they are definitely in more elegant body poses than the young heart all the good wild typos is I think they're differently more cat like and sixty I definitely think the mature woman or woman on forty fifty they have the real elegant now when I say woman forty fifty should be inelegant poses I don't actually mean that recently I'...

ve been photographing a lot of fifty year old woman in lingerie and they have incredible bodies and you know I just want to photograph anyone how they presented so if somebody comes to me without that sort of lingerie look then I look at it like I just want elegant poses you know I really beautiful poses for may the wall is definitely the best way to not only post someone because they've got something to lean on they've got something to recline back on it's slimming but there's also opportunity and they're a swell so I've used the wall on three different ways on this card here I've used the wall in thine different ways and I just think it's a great way to photograph somebody that's not fled to the wall and I think it's I think it's an amazing in all seriousness mantle it's it's minor on the wall and have a look at the pros is we can do here so will it be easier for the camera angle if I shoot here down that way or can I put on this wall here and you can come around to hear what's going to be easier for you your wall okay so the idea with the wall and I don't think you guys can really see the war post so I probably used this mat coming extend it for me ask another question you know while we put this out because this will just take a little while to set up and it's really worth watching okay great questions in the audience all right back to the phone what quite audience the audience only this quiet now I think I think it's the same thing online some people have been saying that they're not asking as many questions because you're there mesmerized and throw and a cz long time being thorough but we do have we do have a number not racing alright all three went out from painted foot for the beauty shot will you switch that up the eye line not at the camera or down the body ever yes only ever those two airline so directly at the camera you're noticed one of the very strange that would be the third eye line that I never used was the one girl at the front of the car because she was looking directly strata here which is so unusual for me to do an eye line that's looking straight a here or away from the camera so yes but the the beauty shot I actually think ninety nine percent of the time looks really good directly to the camera and not with that little smoky eyes but more like that blank sort of open beauty face you know with that relax mouth and just open big eyes but it's not it's not a fish face it's not like like a dead face it's still an open beauty face so um I kind of have to describe it more like it's kind of a like yeah just a serene soft yeah get there all right thank you man okay so obviously the most significant thing about the wall stand normally and then stand against the wall and I just turns their normally that's okay see if we can all right so the idea of course is that we've got um someone standing straight up and down against the wall turn your body towards me simply so that you are just normal flecked the war okay and again we're sending flick to the wall so people shoot people directly back to the wall it always amazes me too let's have a look at how we can do the shape so from here I want you teo you guys watching this right what I'm not in that mars his way I want you to ten your hips away from may and step your back foot out over that way and then take your hips out that way that's it so kicking your bum away because it's more important that I create the space here threw her hip line can you see why a soon as I bring her hips away from the wall and you have this beautiful space here it makes a significant difference the hand goes onto the thigh and then slides up and then the elbow goes back see the hourglass now samy did something everybody does she just penned her back shoulder and you don't want to pin the back shoulder so go back semi so your hands two dimensional that's the shape of her body if the hand touches the thigh you slide up and then out that's it exactly right now the chin comes long and ford and down that wall line and you can see that hole coming to play that whole pose coming to play really beautifully so it also works really well the curvy of the body it also works really well we're going to do kids tomorrow and that is one of the be slimming lines that you can do for curbs now imagine then that you've got daughters or partner and you can head on to this pose so if simona keeps that position but stands but up a little higher then you can add a partner here you can add a daughter a sister and mother this friend around them inside or just still using the war recline okay the idea with these shapes is you can watch this line come into play because this is really quite cole I want you teo hold your elbows and I want you to change the weight off your feet and kick your bum back until you've got a beautiful art now you're albert your shoulder is still and back on the wall okay so the idea now is that you're getting this shape here so let's say you put this hand down to here touching the back of the bomb and just touch up here but here said that's exactly right long chin now really arch into the back and kicking out that way you can create all of these shapes down the wall line and use the water pose all of them here whether they're in lingerie corporate even this one here is in laundry touched down to the bottom of your sort of brass track would be that's exactly right and yeah under there that's it and then this hand just touch his back against the wall and slide your arm down lots of action to your back incheon down anything you do down that war line looks beautiful and you're shooting long you shooting on the wall line what about both hands down shoulders against the wall that's it and then keep this hand away take your body weight and two back foot that's it because you assume is the body that goes back under the back foot it's more slimming long chin down nice tight shot shoot it horizontally okay um this is really cool to on my posie manual it's when you turn around and face the wall this way and put your hands down I need actual war okay okay here so you want to be here okay said hands together that's exactly right and I want you to bring your chin down and then you can use your shoulder this way and that looks absolutely beautiful on a window line okay really beautiful on a window lined all of those poses using the wall look good tomorrow we're going to do a little section court twos and threes which is what I did before when I post the three girls on there I'm going to show you how to add on more because I think sometimes it's really easy to pose one person and get it right but it's quite hard to pose too in three the question's going back what you said about elevating your client how do you have a client who walks into the studio and is a bit controlling well they're all to some degree most people are quite controlling because they had this idea that the vulnerable say they want to try and control this situation the only thing you can do is be assertive authoritative and guide them but just try and get them to trust you enough that you could just take charge of it you won't you'll always get somebody who throws that out you always get somebody that tries to push that or anything just go with it work with people one of the greatest gifts you can have is a photographer's to adapt to the people that come into your studio I mean you can always get the both perfect clients people will always be difficult and awkward snow beam has a question uh I was recently told that shooting a woman with the fifty millimeter lenses doing her no favors what are your thoughts on like fifty mil lens I don't know why I shoot with twenty four one oh five and ninety five percent of the time it said a fifty ratio I don't see it as being an issue maybe someone can enlighten me on why but yeah I love the fifty mil people say that and then another technical question from vegas studios uh what um aperture do you like to shoot that um well I tend to shoot twenty four one five is full point out and I shoot it at four point I uh I like that portrait drop away that you get there four point I um on the thirty five mil I shoot at two point eight um I can only do that with one client if I'm shooting more than one girl I'm shooting it usually five point six because if you make that mistake if you shoot and you should have two point eight and you know one of them are out of your depths you've lost in image and it's just not with it it's one of those things when you have a single girl and you're moving a slower tze mei you can shoot it two point eight because you have so much control make sure that focuses right on I even at two point eight I missed the eye sometimes and I'll have to check a killer shot because of it or I'm gonna I know I'm gonna publicly admit all of these things but one of them is I've even I swapped to get a shot that I've missed at two point eight so I've got a shot with not such a good pose and then I've just nailed this amazing body in lips and I've taken their eyes off a shot and dropped along to save it yeah I'm such I'm such a photo shop uh red bag and proud of it yeah do you have times when it's just not coming together and what you do good um I have this really calm outside demeanor when inside I'm like it just comes together you find a way there's always a way um there's always extenuating circumstances there's always somebody's not reacting or you've got I'm elevated or their elevated or you're trying to calm down you're in a situation you don't know yeah I mean I still twenty two years get nervous and shoots I still sometimes start shooting people and go I'm not hitting it in my head on the outside I'm going to do guide then inside I'm going oh no I'm screwing this badly you know and yet I rely on my experience and I just keep relaxing and just keep trying new things sometimes it's a synergy between them just falling into this complete relaxation and then giving you more relaxed expressions and then all of a sudden you just see this perfect shot and then it's there and you're there for the rest of the show but you've always captured I mean you always find a way to capture when it comes to guys or girls particularly strong or loose opinion about hands in pockets um yeah I don't put hands in pockets thumbs look good in pockets though um I find in hands in pockets shoulders go up because pocket too high and it stops the hands so they teamed to come forward and then I think sometimes when their thumbs were in the pockets then it looks really great

Class Description

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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