Mirroring Practice

 

Glamour Photography

 

Lesson Info

Mirroring Practice

I want to talk about the gays because I did the gays I sat in front of you which is kind of weird for the viewers if they're watching because they're kind of like what's going on also if they're viewing it from the side they're not seeing what we see when I sit down in front of you and look you straight in the eye so can we just talk about that for a minute because as soon as we walk out there everyone was like oh my god when you looked at me I wanted teo you know cry or hug you you know for what what do you say I said I felt like like I just wanted to give you a hug like yeah like I was like oh so I just want to hug you okay so what we're doing is we're looking directly into somebody's gays were smiling from inside out and you connect in that way and everybody had a completely different reaction to that I felt like I was being pulled into like I was going to jump in teo like into a different world or time warp doesn't any records describe it was really mad I felt like you were seeing ...

me like for the first time like uh you were connecting as a person yeah typing it was it was it felt like so I guess to me for the moment we just that let down of the veil no just no b s we were just able just without having to even fill it with the usual silence is deadly moment it was just there was able to be that no b s and here we are and we can smile sandra um I think back to the shoot yesterday too and that gays happening it's intensely personal but I was also mesmerizing it was I know you know throughout the shoot I thought it's okay that I'm constantly looking at her in the eye you know and it's yeah it's it's a pull in like you said tie ages in its mesmerizing you don't look away you don't it's very personal and is very connected with the failed kind of goes down that you normally have up you don't know him really well look each other but it's very two seconds three seconds is not very also wins what looks at you that way you kind of see them for the first time or something I don't really see them so you don't see them outside of them that's how I felt like I was being validated as a person what someone looks at you like and then holds that look yeah yeah that's really important I think that um you lose thinking about yourself so when you're gazing at me then I kind of jump into you a little bit more which lets me forget about crazies and what I'm doing yeah so that means you were going outside of your own out herself and looking into somebody else which is kind of what you want to do with photography all the time um teenagers a difficult to do that with particular teenage boys okay because teenage boys used to looking down and they're not used to holding their gaze but if you can do that if you can engage a teenager children are different kettle of fish whatsoever because their most present moment is when they're just laughing where's our laughter is not the case that a laughter is very contrived in tens of particularly if there's a camera watching it's never a really laugh and when we do laugh we throw chin back you know we throw him back with their eyes closed but children when they're laughing or in a full state of prisons and that's their connectedness um as teenagers start to grow up they get their awkwardness and then they don't make eye contact so that's that's one of the higher this one's to engage would be teenagers but you've just got to keep asking them for it and sometimes you'll get it when the parents leave the room like teenagers arbiter had engaging with was an adult because if the appearance speak for them they'll just look at the ground because this scene is the appearance engaged they don't have to so the eye contact is very important when we get older because obviously it represents a whole lot of different things and one of them is the connection that we have with other adults looking them in the eye because for some reason whenever you do a workshop and you go around and you teach people that gays and you teach them to hold the gays and smile through the eyes it has a profound change agent everybody who look at and it's really interesting to look at it with somebody else so I always make workshop stand in front of somebody and look at somebody else and smile with their eyes and make them do it to somebody else so the look that you're asking for that's what I'm saying so what you're doing is you're looking um it's somebody else the way you're going to ask them to look back at you so smiling up through your eyes very important okay so who wants to try marrying that either of you want to try it from killed come on time and I went maybe out there on your alright okay sam I understand that it's actually just talking or using a camera I think you should talk it out all right because we're gonna dig composition next yeah but if you feel more comfortable with a camera I just want to see a guy dio I just want to see a guy pies all right you know and I think it's really important that you can land to mira pose here um without being without being all girly and without being you know during all these poses so why don't we try something simple you look at him not may is I want you teo on do this crossover okay so as we're bringing in here here stop with your toast you bring your right foot out a little bit of kind of on a bit on point pulling you're just a little bit across your body is gonna help us just push out a room just a little bit here right like you put your arms yeah this hand to the wall we could please and we're gonna bring this one up more to your shoulder kind of soft hands even a little something you let's roll him out there we are just that there were okay so attaching the shoulder so very important what we want to do is not place hands anywhere on the body but actually have them do something so hands when they're given a job will forget to be stiff cloth fist unfunded bid so when we tell them to touch down so you khun stay sweep her hand out to you out of shoulder like this you soft hands to sweep your shoulder out I'm sweep across your shoulder out to the outer edge like this and keep your elbow in but if you put your hands somewhere on the body then people will place their hands and straight away go into a thunderbird instead of placing them when we put hands I always say let this sweet the decal attention just pull you hear back and then it comes to the or you can draw a line down the nick to hear so just draw a line down and just soft hands here okay so in this case we're going to sweep it just across the collarbone kind just up to the edge of your shoulder they were gonna bring your eyes down to your feet and then just get ready here and then relax your mouth miss little let it go and breathe and then your eyes is here in three two here we are thank you okay say eyes up to may really really important okay stop there so you have to make sure that you're maintaining the shape of her body and when you talk you through everything as long as you can keep all of the shape of her body that's absolutely perfect so you did that without actually doing anything right now but I think it was in a little bit okay now what I want you today is I want you to place my point like that already and just listen to what he's asking for you okay so the first thing I do when anybody gets into position is eyes use them because it makes people feel special uh when they're on set and also this is something on my make about us do you what about for a man like I think they needed that I'd be kind of well not really because there are male starless than this male he dresses that do it but mostly it's a stylist thing so the stylist is generally here the photographers generally there and I think it's a really neat thing if you want your females um clients to have an amazing experience you need to work with a stylist and you need to it with a stylist that is going to actually make the client feel wonderful and there is one of their jobs is to be into every one of the chutes and stand very close I was actually you know might as well be looking at actually pull your hair back here okay so one of the most important things and this is something because I like the boy the boy questions and one of the questions is um when men go to touch female clients they ask if they can touch them don't ask if you can touch even move here here or don't move here but if you walk up to her and go can I just touch you right now it sounds weird and it's creepy either tatchell you know it is it's creepy can I touch you right now kind of makes you want to say no doesn't it now I don't want you to touch me and and if you walk up and go can I just is it okay if I think you look scared and if you look scared then your client's gonna run all over you because you're supposed to be the confident one that stands here and tells them what's going on I think it would make me stiff enough yeah great but as opposed to asking if I'm just even telling what I'm going to do as opposed to I'm just reaching around and letting you know I was gonna push your hair back here if you have a stylist so it's taken you just fixed outside of here here and if you don't have a stylist um you can just walk up intellect there and they walk back again but there's no need for you to ask or make that an issue of whether or not you should touch your client there's no need for me to touch my like I don't theo any time I touched my client was when I did the elbow when I put the hand there and when I deduced that here there's absolutely no other name put to touch a client at any time and there's certainly no need to ask them if they could be touched just do it do it do it just you consent it's gonna fix you here okay yeah or get stars to do it but yeah either way okay so this case now we've done it waken great I'm gonna have you just leaning back against the wall forward a bit we're gonna take your right leg and put it into a bit of a point just in front of your other foot and in doing this I'd like to push your other head out just a little bit across the wall there we are pulling your right arm up to the wall and a little further out of it this way jen okay you said right out but you're not marrying oh you're so if you're going to mirror the hat thing about writing is you picked up your right arm which makes him over here lift okay so if you're mirroring then say the sam comes up we'll bring this arma softly lit up against the wall and put further out thank you we'll take your other arm and political across to start pulling your hair back just that little bit there we are a little further back and then bringing that down here where we are on your head down towards your feet and then selection of wear just we were like wow wonderful and breathed as we looked down and then did you use your pen I did not use my chin pan have your chin just out and down some and also have you tilt your head just there were thank you see you're doing all of that murdering you're doing all of that movement and you're still doing the guy thing so I get it I get it that you can do it like I just don't think it's a girl thing I also think if you stay there naboo I think if I go from here if I if I use zero sensuality and my pose and you cross that knee over come ride upon to toe kick your booty out this way I want this hand up in this one down yeah I want lots of shape into your body so as much as you came pushing thereby down I want you to push your chin towards may that's it and then down that's it that she can still rock that pose with me to standing there like this I don't have to be all up in here myself and doing all of this in order to pose her to do that so if you don't have that if you can't do that if you're a guy and you're worried about there it doesn't meda you're just trying to achieve the same thing you're trying to achieve asymmetry in her body language with her arms you're trying to get youto work her shoulders which is what she's doing you're creating an hourglass in her body and shaping her arms by pulling her arms away from her body you're tapering her waist you're bringing her hips out you're tapering her knees you pulling her chin forward which is both slimming and looks fabulous and then you are relaxing her mouth and bringing your eyes up to the camera which is there and she is working her body in a way that looks sixty and I didn't have to do that in order to make her look like that sit right okay cool thanks tell him well done that was really cool okay so another thing that is a really difficult thing to do is I'm kind of show you all four girls that we photographed yesterday with typical off how every day women move okay they were typical off they were typical um they move the same way quite often when you kicked the bum out for some reason when you do that sideways hourglass out that way when you kick the bomb out the chin goes in so then you tell them to push the chin forward and then their shoulders roll forward and then before you know it the bum has tucked back in again so you tell them to reset themselves and then you kicked the bum out and the chin goes back in and it's quite funny because I think there must be a direct knew that connects the chin to the bum because for some reason when the bomb goes out the chin wants to go with it so it's a constant fight of pushing forward because there is not a natural stands I've just recently filmed two girls one of its called model this is really a girl and in one video I've got a model and I got her to stand in front of the camera on a on a plane war like this and I photographed here from about thigh to the top of a head and I told her to do is many poses as she could in one minute in every time she stops to pose I take a photograph ok and so you can hear the music playing and I gave her the same direction she's not allowed to move from the spot that she's on she's only allowed to move around this way okay so she can move three hundred sixty degrees but he can't move off that spot and this is what she did so I'm not going to play it for you today but I'm editing it at the moment and it's so amazing to watch every time you hear she every time she pauses you hear my camera click so she goes one teo three four five she starts using her arms she does a backwards look she turns around she crosses over she uses her body and she works her way all the way around and even does the complete fake laugh you know that the laughing that hands and she did sixty three poses in one minute okay so sixty three poses and I took sixty three photos and then I flesh up the sixty three photos then I got a girl who looks like a model so she's tall and lean and she looks just like he looks just like the first girl and she's a real girl that doesn't move that can't move naturally for the camera and she has the same awkward amount of movement and I told her to do as many poses as she could in one minute and I took a livin shots and only two of them were kind of usable so I don't believe that everybody can just freestyle I believe that we should have more control over who were posing and how opposing them but use flow and direction and ordered to pose them because when I saw her she did there she went one uh two um three um four and then she started to mirror what she done on this side and it was the most amazing thing to watch because she she then repeated the same thing again because she doesn't know how to move her hands and push your chin forward she doesn't know how to connect her shoulder and kick her bum back naturally she doesn't know how to do all of these movements imposes because that's not her job to do there and who knows how to do that you know it's something that you have to learn and then something you have to practice but everybody is capable of looking like they can move like that if you can get that lengths that position that body language and then get that chin forward everyone has the ability to look like that

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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