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Glamour Photography

Lesson 9 of 36

Live View Shoot: Q&A

Sue Bryce

Glamour Photography

Sue Bryce

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Lesson Info

9. Live View Shoot: Q&A

Lesson Info

Live View Shoot: Q&A

so can you do this with just mothers and daughters can you do with also father mother and daughter father mother son absolutely and I'll do anything in this position because I love this post so much and I've used it so often in my studio because I find it's a little bit out of what I say it's not traditional but it actually is very traditional shark what I'll do is I'll have children on either side in a baby lying in the arms in the middle I'll have a mom and dad on this side a little girl there and a toddler lying across everybody I'll take the ottoman away and keep that same triangle because the basis ofthe that group shot is a perfect triangle so yeah that works pretty much anywhere it also works for one mother and daughters had come out amanda imagine that these two are just a mom and daughter shot first of all you both need to come up and over your elbows too nice and tall and let's say mom put her arms around so mina and you come you're albert into mom's space now sandy brings he...

r face forward more more samona sit up and force them back that's it and then you connect together see straight away you can see how that works as a mother and daughter shot I'll go life you straight away you can see how that works as a mother and daughter shot and you know it's just a beautiful shot of them together and you can create that triangle and then the idea though is you can relax is that you can take a single shot free cattle's today you can take a single schardt off each of them doing something different with hands and what if you just sold a large trip dick right that's what you just solved you've showed two incredible beauty sharps and an amazing together shot of a mother in order to give up you've just told three images and you have not moved anything so the idea is that you're shooting efficiently as well as flow posing as well a shooting to sell so you're taking a photo of semi getting semi out you're taking a photo of sandra you're taking it together shot at that stage I'll stand up and I'll say the girl's great girls that was great let's put you both in your white outfits now you go away to put on your white outfits and I changed the next prop so that when they come back I'm ready to shoot another sequence and I've already pre got I've already pre visualized the sequences in my head okay before people say this all sounds so incredibly structured and priests pre you know determined and pre organized and you really know how you're going to shoot them that is how you make money okay you find a winning formula and then you repeat said formula ten times a week and that's how you make money now if you want to reinvent the will with every shoot um I applaud you but you will never see volume so that volume has to have a consistency in your brand and it has to have a consistency in the method and what you shoot other way she cannot reproduce a product over and over again because and you cannot make a lot of money doing it I'm shooting the same thing over and over do you feel like you kind of get tired of the same poll you know what I would like to say yes but the truth is every person comes with something different every person has a different way they move every person has a personality so if I'm sitting on the floor it's not all business we're laughing she might be telling me a story about her ex boyfriend I'm laughing about it I'm connected with here is a person we're having a great time whatever it's different it yes it's the same shot I know it it means I can focus on the expression and and instead of having to worry about what my poses kind of phoenix because I can flow into the next pose without thinking about it does it put you in danger of cookie cutting yes it's not so much a burnout it's the cookie cutting you have to be careful that if you're tired or you can't be bothered or you're stressed out that you don't just jam out of cookie cat and stop connecting with the person sitting there does that happen to me yes I'm not perfect I make that mistake that is a very important thing about you khun lin poses that look good and you might introduce some of these into your studio but just be careful when you know them so well that you've stopped really making sure that you're giving the client what theywant secondly if I show my clients that beautiful image of those three girls on the wall in my studio and they go yeah I'm not gonna do it they're not interested in it but when a client walks into my studio looks at an image of a mother and two daughters and goes I want that then I will recreate that because they've asked me for that and if they ask me for that that means they're going to buy it it's a given they're going to buy it yeah absolutely right any questions question is so do people ever get to pose well um let me can I ask you that again I was I was uh the question was uh do people ever complained to you that uh that these air to post that it lacks spontaneity well that you wouldn't come to may if you want to spontaneity go to someone who's gonna be spontaneous and kept you on the fly that's not why you come to me you would be attracted to my brand cause my brand has a suiting look about it which is that beauty type genre is opposed to running through mid I in a tutu if you want it running through a meadow in a tutu then you would do that now when you would because you know I sit through an entire seminar one day with a woman and she came up to me and she said oh sorry shouldn't come up to me she put up a hand and at the end of eight hours of talking she goes I'm not really interested in anything you do I like natural photographs and I think okay well going take metal sphere in the wrong simona it's my style is different and that's what the people who are drawn to it will be drawn to my style of photography the people who aren't they don't belong in my studio anyway it's okay I love what let's let's you've just brought up a really great card this is called there I want candid shots yeah okay let's talk about candid I show you a little trick about candid shots it's because candid shots mains I don't want to look like a tosser that's what they sang tio they want to look like they have posts so naturally and that they were just called in the element they're not telling you I don't want to look posted all they're telling you they don't want to look awkward so I've invented this one and I called this cad expression and personality okay so it's a slight angle after the camera lie up here in your tummy the card says shoot a siri's seller siri's all right so the idea is is the more of a siri's I can create the more of a story I can create with a flow of images the more portrait I will sell I can nail one gorgeous portrait of here but if I nail five all sell five now if I can make it look like a story that I'm definitely selling five okay that's the idea shoot to sell so that there has a little bit of movement tow it this girl came in and she said to me I want to look candid but beautiful and I thought about that candid but beautiful what is candid candidates because I only can think of the only way you could really shoot someone candidly is completely pj completely photo journalistic lay where they don't know you're shooting them but if somebody doesn't like you you're shooting them they're gonna have to be doing something pretty special for it to look really gorgeous because if they just laughing normally then you're more likely to get pete pj image like that three new hour of that beautiful gorgeous laugh so the idea is you've got to create it and make it look candid okay and this is how I did it with this and this is I'm going to read the card here shoot a serious sela siri's this siri's was shot specifically because his client wanted something candid and beautiful she is lying forward on his stomach on an ottoman andi did a practice run and I told her that every time I say change she had to change her hands and her expression okay like simon says do you play that here you know that simon's his hands on the head simon says hands on hips okay so we'll play simon says and this was the only way I could get my client to do something candid so it's like this you can roll up onto the side you can go left onto this side here you can bring your hands forward you could bring your hands up and under that you're allowed to do whatever you want but you can't do anything outside just moved right across to the size and convey right across to this side and you could do it even you want here but you know lata maeve anywhere else okay every time you do something I'm going to say change I want you to change your expression and I want you to change your post okay and got a great change well some keep going keep going good girl good girl okay give me a different face that just smile I can and change and change forthem I didn't say change and that's exactly what happens as soon as they change and I said I didn't say change they start laughing and it's what you get in between when you keep taking photographs so it's like to me it's an opportunity to get them moving to get them free styling but you'll find people start repeating the same moves and it's not the move that you capture it's when you elevate them so that's the only time I really elevate and then I'll get going change change again change again change again and generally my maker but it starts laughing because they're laughing and then I'll say that was terrible on no that was so wrong and then they really laugh and when they really love they'll put the hit down the love they hold their face and then I can go bang bang bang bang bang and that's when you michigan because the machine gun on the real reaction is priceless compared to oppose and that's about as candidates I get sorry there's nothing to be sorry about like you said yeah yeah yeah different between change elevate change elevate but I don't elevate for all of my post shots because I feel like when you elevate a client you lose control of them and I don't want the chin tucked in laughs and those they they might be real last but they don't photograph well I won't control over there need to control it so do you consult with your clients before a shoot yes right before they go on camera or a week before one of the things I'm gonna talk about on sunday is how many touch points I have with them to educate them as to the issued in what's gonna happen the touch points that I do right from selling the actual experience through to selling the work is the most important part to making money because the more that she is educated as to what is going on in the more she's invested and being photographed by me the more money she's going to commit to spending to me how many photographers are shooting people hoping that they're gonna buy images why would you to photograph someone at least they have commissioned you to photograph you to photograph them the whole point is to um actually achieve of result and the result is that you create the images that they voice wanted and you get paid for it if you fail and that you have done something really wrong you have either failed to educate them as to the process in the price of your work or they have failed to educate you or you fail to listen to what it is that they want when someone comes into my studio and I show them one hundred photographs what's the first thing a woman water pull out her favorites what is that telling mei okay when when you sit the tender and you pull out three of your favorite images that tells me that's what you're attracted to that's what you like and that's what you want for yourself my next question is how do you want to be photographed how do you want to see yourself how do you dream of being photographed what about my work there makes you want me to photograph you and show me which ones and when you point to an image on the wall a big image and say I love that shot I say do you want something on the wall is that what you want you want me to create that sort of shocked that you can walk into a bedroom and go oh oh my god that's you and if she says yes she wants a war portrait I've already sold there in my mind I've already prepared her I'm shooting what all I have to do is deliver it and if I failed to let deliver it I'd like it paid I say it like that can you explain the word elevate two people yes I can when women come into the studio to be photographed they are often very vulnerable they're either emotional or sometimes can be quite badly behaved um they can push you around a little bit particularly when I was younger I prefer the older woman would do that may I learned that it's a self conscious thing and they just want to take control of the situation because they feel like they're relinquishing that control to you so they definitely feel out of the camp a zone so they teamed to either dominate you in some way or be a little bit sort of badly behaved and they don't take kindly to you taking control I live as I got older to take control so you know when you have a child that's off the hook on candy or whatever and you elevate that child so you're like that boiling boiling boiling boiling you can't bring them down like a child is bouncing or adults are very similar if they're vulnerable and use that you know throwing out these sort of freestyling poses where you're yelling and laughing and elevating their mood and and it's all getting out of control then you have no control there like a three year old on candy and you need to bring that whole energy back down to a point where there quiet and they come and they listening to you and that you're in control and that your voice is thin taking control and then you're like right let me guide you but if you can if you elevate them too much you could definitely throw a whole shoot off because you know they'll start reacting in a stupid way and you know you don't get the shots that you want and you say good girl you say that to someone who's younger but what would you say to someone who's older would your tio someone's old yeah I know I y you know why because I don't say it in a patronizing way I just go cuckoo cuckoo but for me it's like yes yes yes good girl good girl stop stop girl I love that you know and I don't I don't want to do it in a sweetie darling sweetie darling kind of way I just want to do it in a good girl that's awesome ever I don't have their own little thing that is my thing if I have my own little thing that would be it I didn't realise it did it until I watched the video that's a good girl and I was like oh my goodness e I didn't want it to sound like good girl good girl you know it wasn't sort of you know where it swim meet with the children that I wanted it to be reinforcing and positive but anyway that just comes out yeah I just prefer it toe gorgeous darling are you gorgeous

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!