Glamour Photography

Lesson 17 of 36

Shooting Curves

 

Glamour Photography

Lesson 17 of 36

Shooting Curves

 

Lesson Info

Shooting Curves

the most important part about shooting cribs is the rules exactly the same rules that we apply with every one of our posing is about lengthening its about shape it's about staying square so everyone of these rules is holding two exactly the same posing rules that with planing but what we're going to do is create some extra rolls for body types and kids so um map heads agreed to be our crew of small today so I'm gonna take you through a few of the scenario so one of the most obvious things is can you take your jacket off and if you could send it on get your gold single yeah ok nice and cold for you today I can't just pop it right there on the floor you have to go anywhere and I want you to come around here and just lie down comfortably on your tummy okay so sin is way are in the stomach bring it on bring your body around may side on okay the first thing I do in the first thing I do with everybody is you just left up pulling kimmy up so the first thing we do with everybody when we uh lyd...

die um is everybody lies comfortably and as soon as she like comfortably you do two things you bring your arms against your body and you sit into your comfortable nick position which is nice and low there okay said the base pad about this shot is this is it everybody says nice alone you have to smile at me I'm just taking it up all right and it's no shape in there the most amazing part about the shot is that with a few simple moves that we do so firstly keep your elbow still and slide your body back okay the body creates some space here in some space here your right hand relaxes forward keep you darling don't leave anything that lets it and then this one goes across that line there all right so the one thing we don't do is take the elbows out because it's I call that farmer joe you know we're always trying to push the elbows into the inside of the body lined for women so whenever we sitting the only time it elbows come out when they're meant to be out for our hand posers but there's no reason why our arms would go out beyond the outside of their body because that's where it takes the outside of their body so we don't sit with their bows out in a hanson and unless we do the recline which is a different leading away from the body so always elbows in so we went out albert line to come into where the bris line is I pushed the sound forward over here and this is the same pose that I do every day this is the same place that I do for everybody okay at this stage it's no different for kids no different to anybody else the most amazing part about this pose I think is when we lift up three here so I mean what I told you about lifting up like puppets coming right up straight up through the core so it's when you use your tummy muscles and you lift straight up then you bring your chin around to the front which is where the camera is ok in two things one of them is you lifting up a really tall through the neck and shoulders and then you bring in the chin forward and down now now that the arms away from the body it's always slimmer and this line looks good because we dropped down with curves we don't need to lift the bomb up because have a look now she's dropped away so beautifully that that's exactly where we are and we're showing that screen is that correct so that cameras on okay so you can see that life you so right now already from the front I can already see that she's in a really beautiful reclining your body in it shoots really well so lifting up nice and tall through your neck and shoulders working that shoulder towards me first so I bring the shoulder forward first in thin the chin to meet the shoulder good girl right there and then I said that nice and class okay so lots of little twinkle in your eye so we've got no reflector we just shooting nice and close and see there's no need to slim anything else in that post the bomber's going away at forty five degrees and it's absolutely just works perfectly well we have to do is worry about getting a reflector to the face okay from here I can move around a little bit more work that children bring your chin around me good girl beautiful cute little smile right there maybe the force mom abou that one can come in nice and close I can then take the owl bow out so let's do a little bit of flow take thea bo outside mechanic clip from I hear yeah albert goes out that way I want your fingertips to touch behind the back of your here I want this alberta come back closer to your body a case around life here sorry this one to come back to your body that's it and then lift up tall ipad off your neck and shoulders and bring the shoulder forward do you notice health far she grows and lives up whenever we tell her lift up through the back of her shoulders that makes a big difference now that their elbows out there she can fall onto that hand a little bit more good girl and then I get a totally different fight in my shot so from the uh sorry excuse may any questions um it just seems like you would bring her elbow away from provide me I can not towards it it just seems like you pull it you'd want a space between obviously her boob in arms like there is space between sai what happens now have a look at this what happens is when people sit down they always put the elbows here okay and as soon as the abbot goes assumes that upper arm goes against the boot itjust squishes in there and assumes you pull it away that's enough we don't need thio recline people all the way out here all the time just to get their arm weight off their body or we have to do is create space in fact it's a really good posing listen find me the camera it's a really good posing listen to lynn that you don't have to be a ll the way out here to create the space in the waist or you have to do is bring it away a little bit assumes you can see the gap um between my body and my arm you can see that that's not where my waist that's where my waste ends and obviously you can't do that by touching the thigh and just sliding your albert up a little bit to the so you don't even have to necessarily be hands on your hips but what you do have to be a sort of shaping handshaking around your body yeah and as long as the weight is slightly off your body it's okay as soon as this comes back to here so the second thing is if you go back into comfortable zone so sit comfortably and stand by your side okay as soon as she squash here everybody sits into the nick the same way if you get her not to move around but just left all of her weight up like lift all of it see it already stretches it out anyway the most hated body pat that I've heard for twenty two years is my arms lean girls care the girls it does not matter I always get that don't make me I'm so perfect I can't don't make man's expect oh I don't like man's I don't show my arms I don't like my time statement I'm so fat that would be the most complained about buddy patch if I can stretch this out and make this arm look gorgeous then I'm always gonna always gonna win okay not in this home across yeah okay so lifting up nice and torching around to me this way okay straight away you have a drop off a forty five and that looks great okay what we can do here is slide your body back keep your hours still slide your body back a couple and just stop okay the more I stretch out the arms the more kept like I get on my pose okay and the more kept like I get them the more six here can get in my posing that's when I rolled up on to the site stops stops up dime roll up onto your side bring your knee forward stop just there like a little bit more okay so the idea here is that would put a little bit more shape in there snake and come up with mark that's a girl okay it's a bit of a short autumn in this one if I have a longer one then it will work elbow comes out towards me that's it start lifting up nice and tall shoulder forward and shoulder forward and bring your chin around that's it don't close this gap so keep again here and here really really important okay and once my booty's up then I get this beautiful shape here and then I have my beauty poking after the back okay that's easy that's fundamentally what I would do with curves absolutely from there let's show them I want you to sit down in front of it so I stand up and I'm going to go around so what I want you to do here map is I want you to sit down and I want to to sit on your side and leave some space here between the ottoman and I want you to recline back onto it like this the whole point of shooting kurds is to create space as soon as you create space in the pose you make it look slimmer and you make the body look great so what we're gonna do from here is just you shoot just pull your jeans up around the place and start talking you okay now even though I told her leave space between the cat she just did what everybody did now that's perfect because it's a real example of what everybody does is they straight away sit down comfortably maybe move us around everyone concerned okay so what I'm gonna do here by the way there's a pipe poking out of the wall behind him but we're not gonna worry about that what I want you to do is I want you to turn your hips away from may yep scoops them slowly move just scratching them away stop needs together stop put this hand here and slide your elbow back all the way back and down down that's a go okay so straight away do you see what we just did then now what we do is we take your entire weight off your side so set up so only your elbow touches that's it right there all right so soon as we create space we're slimming already now what we do is between the body away and pull your weight away from your elbow because the more space I create through that pose the better this hand relaxes down in the front this hand isn't wrapping around the body which gives her an hourglass what I do here is when I should curves I'm gonna shoot slightly higher than her eye line but not too high I don't want to shake down on her like this this is a really old way of slimming we used to do it in the nineties and I don't think you need to do it anymore not with photoshopping the way photoshopped works you know it just doesn't look good at how shooting down okay so what I'm gonna do is if I bring her chin around this way and I just shoot it in there on her eye line one moment then I'm there okay so makes a really big difference let's go even lower and lift her so if we go back to our life you because when I moved here it's lift her up even higher and project your chin forward good girl not that far in a work that shoulder stop it shoot that lower with her lifting up through her body so it's still doing it and she's still being shouted a nice low level but all of her weight is away from me hear bombs away from may her legs look slim her arm is hourglass around the back there's a great brace line this forty five degrees and her shoulders to mei if any reason she does not like it from town so if there's any reason she's uncomfortable with it or I I retouch the image and I want to bring that end and I can slim that I'm really easily inferred a shop okay now the head onto curves so let's say now we do the head on I could shoot a couple or a mother and daughter or two sisters just sit forward if I bring the second person end and then I get her to do the same reclining slimming posts on me and then I come forward and we can't the air and you shoot that vertically so that works as well you can use the same poses and dead people in so there's no reason why we can't make man look slim and gorgeous reclining with his children all around here I was sitting on him nia or up behind her or her husband behind here in a child sitting here with her I'm around that child because it's all about lengthening here and stretching her body out first instead of having who sit up here like may and sitting here like this in a non you know not a good position for anybody in taking a photograph of two of us like this I came without children around us looking like we don't know that flash okay so from here a really same rules apply again it's all about lifting it's all about shaping its all about reclining it's ok when you've got curves in one of my curves poses is when we are sitting with a damn back like that and then the next one is when we tune and reclined back that way so what I've done is if you just bring nothing but your knees around to me until this hand goes across there that's a girl so onto that onto the ottoman that's it this hand stays on the inside that's it drop it down now lift up his tall issue can now soon as you cross the arm across the body that flattens down again okay so this is where I just have to do one movement is bringing knees around a little bit more and point your boobs that way that's it because as soon as I take the weight off her arm and she pushes forward ballet hands good girl okay and then you bring this elbow away from the boob so it can stay in front of the body but just don't have it sitting up on the breasts so just get it lean towards you a little bit more and pull the boobs back see that okay so watch from the front when you come back happen your boobs and up in this area there's no space around you or you have to do is pull your boobs back I'm saying boobs a lot today all right okay bella hands pulling boobs back lifting up nice and tall and bring this foot around stop bring this foot around a little bit more in point your toe towards may bring this one foot around a little bit more stop sitting up nice and tall ma who ride up through the top good girl that's it sitting up nice and tall darling go go with that shoulder ford in the front longneck you've just come straight down the nick I want you to lift all the weapons high as you can work this shoulder forward good go stop right there excellent okay from there what we're gonna do is it's lying down they were sitting in replying any questions just curious in the corner you've got there no and versus yes don't shoot down on them don't shoot down think you just did that okay question yes which was a software not your jacket yourself christine marie is wondering if the woman is not wearing pants and just wearing a skirt or something how would you would you slim the legs the same way well I just kind of wrap a scared around the legs if it's a big scared I just kind of the more it looks fitted the slimmer it looks so it just works that way yeah I think what I'm gonna do now is what I traditionally called cava girls think they have a girl is all of a sudden there was there was a body going straight to the camera so it wasn't about that thing with a lava seven cava go wass that there was no slimming and a forty five because it was impossible to slim somebody who's straight onto the camera this way right because the bombs not going to go backwards away from the camera because we take what we don't want back and there's no way I was going to get even on sideways movement with curves there's no way I can do a tip or forty five or recline so one of the hardest things I had to do was come up with a way that that curves could do this because I didn't want kids to not be able to do this pose okay I wanted kids to be able to do it and it really works really good for kids if they have atop a skaff or a wrap around their arms and it's not to hide the arms but it's to cut into the body line because the camera is quite deceiving go back and lean against the wall for you okay make me just say that the life you're christians while I do that mac my question again about the big black background that you're using is that spray painted and I think the answer is it sounds like that sam from cool right so it's just it comes like that the black side in the war yeah I don't know where the boy's got it from but the boys here got it for me so maybe they can answer that in the check room we got it locally at glaser's glazes yeah it's our local camera store okay what general gaff tape is uh case it in the movie industry that there is gaffer tape you can rip it with your hands but it's really sturdy and they use it for everything all the gaffer's user it's for lights it's for cables it's far microphones you talked about additional slimming to the arms if they still didn't like as much as a swimming you already doing photo shop is that after the viewing that you're saying that they're still iffy about the and I choose yourself unite I'm I'm now and intuitive I would say enough in my images to create images that don't need much post production after they've seen them I want a retouched by images before they see them not retouch them after they say them I just don't feel like people really need to see anything and think this is this is really hilarious but it's a true story um I was photographing a woman and she's a good girl and she said to me whatever you do between the taking the photo and then showing me don't ever show me and it was such a about her because I wanted to be able to use here's a demo because she was really such a great body shape for media use is a hell to make look amazing but she just did not want to see that before and after process and she goes whatever you have to do you just show me the finished vision I said I do that anyway and she goes good and whatever you do in between that I never want to see it I said okay you sure wanted anyone to see a little bit you know she was a photographer too and she said no when you order a bacon burger you don't want to see them kill the pig and I thought about that and I thought such a such a crazy thing to say but the truth is is she's ordered something she wants me to finish it and for it to look beautiful she doesn't want to look at it and go ok that would be good but I want this so that means when we doing photo shop we're talking about a very fine line between what I believe is the right amount of photo shop and what I think she will like yeah from flea in georgia can you explain what you mean by the eye line when you're shooting yes I can at the moment map alana's leaning back against the wall and I am in high heeled boots and we are exactly the same idea I level um which doesn't happen to me often cause I'm short so normally I'm a little bit shorter than everybody it's very um common maybe most photographers I meet photograph a little bit higher than the eye line so that means they are a little bit higher than their subject people do this for two reasons one of them is they think it's slimming but also I don't know it seems to be something that people do all the time is they get a little higher than the eye line of the client in order to shoot my vision of glamour imposing I do a lot most of my shooting here just below the eye line so I'm often in a slight squat like that I'm constantly shooting and a slight bend good for the guys that really hits okay and the idea is is let me shoot that stadium up I'm I'm gonna broadcast and not nice better but then I'll go back to your really hot ones okay so if I shoot her down there their mother's chin looks like that yeah okay I'm down there and I see a lot of people doing that so the thing that happens now is if you drop your shoulders down and lift your neck up asshole I as you can so like lift your neck high long neck go now pushing it and forward and down assumes you do that you no don't give me smile just giving normal face tiny lost make that it you instantly drop hooch in ford and down to here and if you go back between the images you can see the difference in how much slimming that does and all she did was push your chin forward and down so the first mistake people make is let's bring it down even more let's go upright longneck push your chin forward and down stop so when it's here you can see now she's really ford and down and watch the difference bounce up okay now if you go to the first one in the city one because nico is so amazing that he can just do that there is just a normal nick line in a pushing ford nick line she's got no reflected so obviously she's got regular lighting on the right hand side but the idea is it's so much more slimming on the right hand side also look at her torso because she's lifting up she's not sitting into her comfortable torso so when she's relaxed he's not sitting down here in her comfortable um you know any a comfortable position she's lifting up in ford and down and it makes such a difference in slimming okay so we're not to let something we're doing cover girl so what I want to do in my life you is I want you to put your hands in the inside of your top up onto your waist okay so there's the waste there and if we photographed the waist like that with no shape that's what we get now what I want you to do is to put your feet apart okay and now I want you to rock on toe one hip there ago and now we're putting movement in the body with the hand on the waist and that's just there okay now what I want you to do as I want you to put your hands higher I want you to bring your hands in okay now once a little higher than the other site yet about that now I don't want you to thunderbird it I want you to hold it that's a girl and now what we do is we can relax it like you are keep your elbow out and now what we do is we're bringing the hand into the waste and then bring it and even more so it's no different all we're doing is creating a point of reference for their eye to look at pushy chin forward now and down stop and if you look at the difference between where the eyes drawn to a sinister chin comes forward and down and the hands come in we instantly bring the eye down into the center of the body ok so we call this faux waste in the whole point of four ways is that we creating a fake waste okay you hoped that come and take a shot off me okay can you give me this if you get cold I'll wear your jacket that's good clothes a bit called there okay so it stands to reason that if you photograph me out here like this that is my with all new profile shot for facebook nice ok so if I come into here then the first thing I do is create my own waste and it does make my wife's considerably smaller when my hands are there but also when I'm working my shoulder when I'm working with him now I can use the shape any time so let's say I do it here and another one and I'll come right in okay so either way what I'm doing you can see what I'm doing I'm using this is a distracter I'm creating a fake waste here okay I can bring my hands right into here I'm so even the life you can see it so I think when we go back to life it yet we're on life you hear you can see what five ways does and how good it works and it really does work in terms ofthe creating that that illusion that the waste is smaller than it is and once you see a shot of faux waste you actually can't go back to seeing the waste where it normally is the biggest mistake we make is sometimes will do that with a bride in a wedding gown and she doesn't have the jacket but she does have a veil that can come over her arms and she doesn't have a veil she does have her am slimmed by being out on the frog the problem being is that you don't want the bride toe only do this pose all day because it's a stupid pose so let's well it's a good pose for cava girl but it's not really a bridal pose oh really quick from the internet um are you squeezing your waist or are you just placing I'm just placing my hands here what kind of squeezing because I want my thumb to look like it's right on my waistline so I am kind of squeezing in but I'm not like and that brings me to another point a lot of people suck in when they're being photographed so they'll do the oppose and then I look at them and they'll be I can see the shoulders raised and often when I see their shoulders raised I realize what they're doing is that they're holding their abs in and I always say relax your stomach because then your shoulders drop and instead of sucking inwards poke outwards because I cannot recreate this line here in photo shop but I can change this line and the front and sometimes you compromise a shot in the front pose in order to get a beautiful line through the back when you're shooting curves so come back this shop here in my manual is a really beautiful reclined ford will be on there and the idea is that the whole stomach is pushed forward in order to get a beautiful shape through the back line I will compromise the front line of a shot because I know I can photo shop it and uh tomorrow morning when I do fight a sharp I'm gonna show you how I come to a body's on photo shop without using liquefy okay because liquefy it is I think horrible compared to warping so I'm gonna show you how to change body type so I will compromise one for the ever without thinking twice about it okay we're gonna have changed the next one any questions about for waste question from sydney and this came out from a couple other folks is what if the person has has really big arms so people are saying what if you're a lot heavier than a boot okay so just bigger arms just means exactly the same pose keeping it away from the body lots of recline and we have a choice we make if you cover the arms we rep the arms we put a scarf on the ems we put a cat again on the arms and stall for waste and if they still have their arms open and they have their I'm showing in that hip figure arms then you just because some people don't like the rounds doesn't mean everybody doesn't like them you're only removing the bits they don't like sometimes I can get a bit flabby under here you can stretch them out and photoshopped that nicely and if you have to slim them you slim them in post production and if they don't want their arms slim do you think they quite comfortable with their arms leave their arms as they are there is a tuition video on my block off how I slim the arms of a curvy girl who sitting with her at the next pose or show you with mapper and I've used that shot too pote teo bring her arms and because she had arms that were down on the sides and I was like this is how I shape hams and the first thing somebody wrote underneath it was what was wrong with her arms in the first place there is always going to be an exception to the rule there is always gonna be people that love having their arms up we should all be grateful for our arms let's make that right clear if you have arms right now and you don't like your arms you need teo go and meet somebody without arms to appreciate your fabulous arms your arms work and move and lift and hug and do all the beautiful things that they're meant to do but if I have got a shot of a woman who does not like a little flaming piece of arm or a little over hang or a heaven stretch your arms out in a nice way I will photo shop it if she wants me to or if I think she would like the shop more ok does it cover that right because that kind of it kind of wigs me out I'm not telling everybody they need to have slim arms I'm telling you what woman doing don't like an ant is a really big one for me okay from here this is a really neat example back against their to see life because you can see again such a visual transformation coming this way towards me to the scene to map that's it all right first thing that we do is we'll take a shot of sustaining normally against the war I'm stand by your sides okay okay okay so as we watch this one come into play now tuned towards may stop lean against the wall yeah okay here we are at forty five degrees so this is a simple step from this movement here I want you to take your back foot forty five degrees out and I want you to take your left foot with it that sits here taking all of your weight on the back foot now I want you to lean with the back of your shoulder against the wall so with the back of your shoulder not your arm so there that's it they'll take all of your weight on the back foot and then push it out now further take a step out note not don't turn away yeah just take a step out so keep your hips forty five and two step away from the war yep step away from the wall now take this off just drop it don't make it ok all right selina back that's a girl so the first thing we do is create space here the sins we create space here we're creating space in our pose and we're also giving her an hourglass is that right all right now you supposed to be on the same so stay in that position and come forward that's it so I can keep coming keep going all right now to turn your body away from may that's ago okay now take your hip hat that's it stay there all right now the first thing we do is right now you're predicting your whole lower body towards me and it's meant to be over there keep your shoulder there and just step away one more good girl stop right now your hand goes on to your thigh you slide it up in your albert goes back okay so just to show people bringing around back into the front if you keep the arm out in the front it will not define her waist if you slide it up and bring your elbow back then you define her waist right there now I want you to bring your chin around this way stop good girl lifting up nice and tall so unique and shoulders the ur state here and now the last one is to slim this front arm we just touch the back of the jeans there okay so just the wall or the back of the genes either way and what we can do is pull here with this elbow right there so stop their long nick chain around okay and straightaway so that step by step process right there to get here too there is really easy to dio okay says she's coming around now okay so we get a before and after okay so you see how that's working christians makes sense than I know she took the cardigan off that's something more hanging doesn't create that space because yeah if she's head if it's what I don't want a black cat again mother beautiful gold top anyway I've slimmed your arms down and she has beautiful skin so to me it it's gonna work because I would rather um stable don't move I'm gonna move you just dropped stop put your handbag there just on the lower long chain around to me this way this is the shot that I took of murphy here turn around to mei chen around to mei chen around to make this right that's to go wait a minute I'm just gonna bring him here right here in this beautiful and straightaway I'm more interested in that shape there so I think if the weight goes onto the back foot that's it pushes away this here is just a shadow and that's easy tio clone out you know once you drop that shadow out that goes completely smooth and she has a good shape in her around she is a beautiful shape and hubris line she can connect with their front shoulder and bring her chin forward and down so I get to look it when you look at here I'm just going to show you from the front how awkward she looks right now I'm from the front because although she's got all of the weight on the back foot when I walk around to the front of here she's actually in this position here now can you imagine most of your clients is saying right now I do not feel skinny or sixty because I'm kind of halfway down a wall with my knee up like this and yet from this angle everything that I want pushing forward is perfect and everything I want pushing back is perfect is it call ok so we can move on to the next one any questions here your less choices so they help you in any way make this more effective I don't think so I shoot this with the fifty I shoot this with the twenty four one of five and I shoot this with the thirty five so yeah obviously there is that center point and there is a slight water and the lands and you're definitely going to get it movement but if it's all projecting forward then it stands to reason the face dumps forward in the body jumps back anyway uh that I'll use all three letters for the same shot yes longest they really working their body into that pose I mean you can see how that does not work you can see from the front that that is just an awkward position to be in and yet if you show the side view of that um even if you can put the side view besides nico it's like nico was god if you just go and it just had ecowas nico yeah yeah so such a simple position and to drop it in that there is just yeah somebody somebody had asked earlier about um do you have women who say this can't be looking good position e so how do you coach them um I always say two things one of them I say is you have to trust me it looks that it feels ridiculous and it looks amazing and they go ok I'll trust you and the other one I say is when they say this really hits I say beauty is pain second outlets guy nice you need hair hanging on both sides of site other than sweeping up to one side or the other because we know framing I don't frame uh I don't use the rembrandt lighting or system or anything where I'm lighting with shadows around the face because traditionally when you're framing portraiture rembrandt lighting is more slimming because it takes down the shadows and brings the pointy bits forward right so obviously the more shadows there are than the more slimming the body looks I work on a flat lighting system not dissimilar to a beauty dish now a beauty dish was designed to take beauty photographs of models straight on with light hitting them and so obviously you're not going to have that with a normal body or the normal woman so I'm beauty dish lighting a normal woman and sculpting her body away from the camera to get a desired look and one of them is I used the here to frame the face where you normally would use artificial light in the studio to frame the face traditionally yeah earlier you were talking about the four ways in the bride without a veil yes I think we asked you a question between could you continue that what was that we're talking about the brat the bride and the four ways and you don't ask her to walker are okay so let's look at other positions that we can put the hint and think I'm on there so when you've got a bride obviously she doesn't have a veil or she has a short fail one of the obvious most obvious things that I could do is just just to bring the hand up to here so I look at it like ballet hands that anything that you can do that takes their hands a little bit away from the body also their hands to here into the outer shoulder do exactly the same thing they take the arms away from being flat and stuck to the side of the body so anything that you do that touches this is why you also have a okay you can hold the okay you can hold the baby k here and you can swing of okay out which also takes the arm away from the body so you can swing a okay you can just touchdown here you can touch down with the back of their hand so if we go back to ballet hands and how we use them for a bride she can belly hands and do lots of beautiful poses where her arms are too stuck to the sides or and cover girl position because I'm seeing a lot of brides like this because somebody's told them its limbs their arms down and let's face it everybody says my wedding is going to be different from everybody else's and they are ninety percent of the time in a strapless I gone a lying down with their arms out and then they have the audacity to say to the photographer I don't like my arms so it's like and you chose a strapless gown but the truth is is what they don't like it's not that they don't like their arms they don't like shots where they see their past your forward in their arms fled and squeezed against their body because then they go ooh my arms look fat and they aren't necessarily they're just not shaped I think keeping a bride's shape in her body all day is about coaching her and saying all day a bride generally has a whole different energy around her body so um I look at it like this have you ever seen an ugly bride you don't see them because they're so beautiful because for one day they're allowed to be the most beautiful woman in the room and they generally haven't ear that is quiet beautiful about them they're wearing a divine dress that they've usually prepared the body you know they've done they here and make up so beautifully they've chosen address themselves they usually walk around with that I am so beautiful and feel so beautiful because they're allowed to pay so why do we allow them to be so beautiful it's it's not fear that you can one day you get you are allowed to be the most beautiful woman in the room and everybody will tell you you are so they differently have a little bit of an ear about them that's a little bit more sort of postured in beautiful but you can explain that to them soft hands and keep all of the movement around your body and and remember that the shoulders work your shoulders and have fun with it you can catch them anymore questions that one more quick question I do ever shoot with a ladder and would you recommend it for someone to get the appropriate haif of the eye line yes um recently I photographed a girl who's six foot but she was feeling lane so I shot her at my full height in heels which is about five six and so I was about four inches below her eye line which looked really fashion but if she had bean a six foot curvy girl than I would have had to have bean just above her eye line so yes I lied to get a little step littlefoot stole or one step letter but be careful with the step led a christian you are inclined to run up it and then shake down and you don't want to be shooting down but yes you should always have a little wasted in your studio okay another one back can you bring that down um we'll bring this ottoman end so go that way e michael um well no just on there yes but doesn't need to go okay so just one that I will do my without the life you I can just shoot it it's come against this warm up um you can take your black top off I'm something that map when I did and hey shayt um to give her a beautiful shape and all often do this with big boobs is a toe hold your elbows here and here okay so the thing is there's often with really big boobs and anybody big busted they can bring the hands under here really well and just screams together and it's actually really nice shape for the up her body it also being spooks and often large bus make people look bigger than they are to and so if you squeeze them in you get a beautiful shape here but what we did with marijuana and she was wearing that black lace top her shoot is we actually squeezed in here elbows and we did a serious where she moved like this because she's got such a beautiful smile and then she came back in rocked under this for ended the same thing and but we kick back with their backfoot because we wanted there and then you opened up here and as soon as I got to that shape there on dh saw that she just pushed her chin forward and down and it was so gorgeous so I often squeeze in and used the elbows and then work the shoulder for body language so just cross over and get this and we took that there and as soon as we bought the shoulder in one of the first things that we do is if for any reason we've got a beautiful shape here we work this shoulder towards the face so that we get that beautiful vibe in the shot if for any reason and this goes against what we're saying about pulling the arm away but for some reason when that works this is the outside of the shop here and if we want to slim that pat town we can do that in post production if you want to but it's just so it has a gorgeous little mood too and she did that go to shut she killed her shoulders and she did that beautiful big smile in her lace top on the black background it looked really gorgeous and we loved it all right so I want you to come and kneel down here this is something we did yesterday when we did the beauty shot to remember some minor was kneeling with here elbows on and so this is really cool because the difference is is when you're dealing with kids is when you come down and first just sit down and put your arms up so okay so just sit normally nice and lie yeah and they were bringing okay so from here when we sit him down it's really really important first of all that we here huh because this was one of your shots is that you can up and over your elbows ok sit about hovering coming up and over fitted and the first thing we do is we flip this hand dancer it's preparing in the front that's it and we slide this one out and then this one over now as soon as we put some asymmetry in here and push the chin forward that's what we instantly start slimming dancer here so soos we stop putting shaping soon as we bring the arms away as soon as we start pushing some triangles and here and then we can use that arm up so we can bring this elbow in and cut the face now remember we're trying to create analogue lasso from the outside way try and make the elbows right we who waistlines going bay if I put it elbows past your waistline here you can't see where her waist is from the front right and the idea is that I'm bringing it into her waistline so that she gets it beautiful shape outwards and then that's who diamond that's her diamond and who really shot anyway is right there and that's a good girl and I could bring it in now sitting up nice and tall bring your chin forward and down take this hand out could kill certain and then just dip into here it's exactly right election now beautiful two straight away elbows come in and she slams right down also it's about lifting up and over so many people sit flat and bring their arms forward so if you sit flipped bring your arms forward thie arms shorter as soon as you left her out the stretcher right out this is a really good card it's in here and it gives you such a great example of how that works let's just address something else that's really really important come and sit up here in the front just said normally you can have your jacket back home that's called okay so sit down now sit down comfortably in a comfortable sitting position your body so everybody when my production may everybody has a natural second chin line which is exactly what you have here even when I'm here ok so she's looking down at me it's not christians looking up even if I get lower than the camera there is your double chin pok that exists for everybody because he knickers in a relaxed sitting position it's that simple it's about everybody will sit there and talk at that level and and literally now don't smart it's for that that's okay now all we have today is down remember all we have to do is push that chin forward down there now it's such a significant difference in the slamming of the face so something that I've put in my kid's manual which you can't see and it's very very important is when you push it and also what she's just done there she's dropped here down and she's not going to do that so that's my fault not yours but what I've done is I've taken a shot of kate and what I've done is I've got kate to tuck her chin back so yeah not that far but just comfortable so it's it's like that and I've taken a photo of kate like that and we've just pretended that we got an amazing shot but kate just happen to have a chin tucked in and we have to fix it on photo shop I've recorded myself retouching it on photo shop and how I do that so we can do that tomorrow on a photo shop position but how to fix a double chin if you do get it so if you happen to get one you've got to fix it because it should be the one thing you're not getting from your clients is that double chin line all right now mixed curves any questions about curves any more ever a question that is from miss bai I have a heart shaped face uh broad forehead and that pointy sharper jaw anytime chilled my sorry anytime I told my shin down my forehead is bigger and my chin is even cleaner because their face shapes that you don't do just dennis so also a lot of very lean girls have a very short chin and a short space between their neck incheon and so what you don't want to do is push it down you just want to push it forward so remember we're working this off the best way to describe it is tyra banks on america's next top model caused this the turtle okay it's about pushing the chin forward all right it's not necessarily about pushing it forward and down but it's about pushing it forward so when you do have a little heart shaped face in a small chin sometimes you're better with your chin up to the camera but it still has to come long away from your neck so like a little turtle you want to push forward and then lift up just a little wee bit but maybe you don't need to slim down there your line so keep it forward uh your photography should be able to see that because I don't just look at everybody and go chin falling down and then think that's the post I'm looking at what weird is that your face looks the most beautiful I also challenge you as a photographer to shoot a nice close vertical shot of a girl from you know from about here to here and I want to challenge you to get here to push your chin forward like this and then here in fact our door with minor let's do it I want you to practice this it's very important to stand against the wall is first of all you can't take that is I want you to just take a normal shot like this all right and what I want need today is I want you to show me where you think somebody's face looks the most beautiful pushing a chin forward now and down a little start and again down even further stop down even further stop that would imply that there's at least three levels there from there I want you to give me a slight tip this way too far so just enough teo just tip down stop going tonight so come forward come down and then slight lets it so yeah now further away so I want you to go but I want you to use your expression so it looks like your little bitty tiny spot that ship and they're so see her face changing significantly as I'm moving it now I want you to lift your chin straight up their night no knight just come back to the center pushing a chin ford and election mouth and now think that role model sort of lifting it chin there stop okay so that's it there and now slightly away stop relax it mouth that that's it sorry so you can see that there's lots of different angles but that thing that we don't ever want to do is we need across the nose right through the cheek line night come back so it's about there and look back a lot of models when they're posing so this is a real model thing a lot of models when they're posing they do that whole they throw the head back and then look back this way like that so they'll do the side look I don't ever do that for portrait cause it looks weird um I don't mind them changing that line here or even this line here and I do go up and down and then up and down there so I actually say if you would it directly to the camera up and down you can have a look at all of those face shapes and see who suits watch up and down straight up and down like that but you never really looked right up okay it's about here and then I look at it like this you two in the chin to where my breast line is and you can do that but you never go past it okay so there and there should be the lines right okay so now I want to look at teached you had done the chin a simple sitting down which was actually one of my poems poses is to bring those to end and I'll post this for her so she can put her feet and so sitting normally map just sitting on there with a band with your hands on your sides okay so one of the things that I talked about with pulling um the babes back let me arrange this for you okay so from here um one of the first thing what I talked about with fashion quarterly was closing down too much off that pose if you bring your knees together and then you bring your right foot up and onto that couch so we can use that couch okay so if it's too high if the knees too high and you feel like it's crowding your pose just pull the couch away and it will come with it and it will drop down we always point out toes everything we do is with ballet feet and bella hands because as soon as we point the toes makes the league's longer absolutely makes legs longer one hundred percent okay so from here we now need to bring her arms from her wits okay so if you just relax your hands down to sit normally no just stay up but just put your hands on two legs okay so when the handsome by the sides of the state it's becoming the width of the body so we just try shut up there any minute now and when we slide the alba ride out to the edge of the knee so we're bringing forward what we want the camera to pick up and pushing back what we what we want the camera not too we slide the other hand through nice and close and then we pull the boobs back through okay now the chin comes forward and down that's it and then all of a sudden we hear now that's next screen am extreme clay and that's an extreme case of crossing the arms over but what you can see is the way it tapers now the reason I'm bringing the elbows forward to the knee lots of reasons I never wanted to look so mitch of course I never pull one away through I'm taking the weight off the arms off the side of the body and slimming down the good part is is it's projecting forward and she pulled her boobs back through the centre is that you can bring this hand up and you can bring this hand into the shot now when we bring out hands up around her face we're not only frame the face we take beautiful shots so if you jump out and I'll jump in and I'm gonna sit down I'm gonna put my toe up let's make sure I've almost good down I'm going to bring this elbow out I'm gonna bring this one to here so it's tapering me in and I want to be able to use my hand in the shot here because we can take a whole lot of photographs of people with their hands down but it changes the mood when you bring hands into an image I want to be able to play with the hands I want to take a shot here I want to take a shot here I want them to lean on it I want them to be more casual and friendly I want them to play with you here if they want to play with you here I want them to frame their face and be a ll beautiful and a beauty shot here I want them to touch the throat I want them to touch the inside of this arm this shoulder I want to be out and move the shoulders and move the arms I want to be able to bring the hands and play with thes to change the mood in pose without changing the fact that I've already send the body lifted it down put it into position

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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