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Glamour Photography

Lesson 16 of 36

Twos and Threes

Sue Bryce

Glamour Photography

Sue Bryce

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Lesson Info

16. Twos and Threes

Lesson Info

Twos and Threes

let's imagine that simona and amanda are sisters and they're doing a double shoot so I'm going to go through the same sequence the same secrets of shots as an ed arm okay this is how you have to be efficient in your posing so let's say samonas here on her war shot okay so straight away samonas there on her wash up amanda's getting dressed into here outfit I photograph samonas beautiful shot there and then the first thing I do is I stand up a little straighter and sister come in and what I want you to do is I want you to stand with your feet now face here I want yet I want you to stand with your feet on either side I want your arms around your waist each other that I can't so to me I want them is a v I want their back shoulders together okay very very important it's a bit of a boob squash for girls but it doesn't matter you don't want their body language towards each other because thie sisters not lovers and you want to open that their bodies because it's more slimming for them to be fo...

rty five to the camera at this stage here they've got their arms around each other at the waist you do not want to see a hand come up over here because everybody does it I know that you do not everybody naturally does that and you do not want hands high so hands girl around the waist this hand here can then hold an elbow there and that connects them okay so straight away they're connected his sisters and just like a couple you've made it beautiful love heart but a couple of joined at the hip so see how her hips are open to me you need to do the same they stay up into me yeah so not don't tune towards me but just ten open okay from here what I do is I just get them to bring their chin towards this shoulder first so you go to your own shoulder first and then you go to each other at but not you don't tip towards each other you come towards each other with your face that's it now amanda your on your plane is further back so you need to bring come tto what's may now come together now work your shoulders in okay and straightaway they both come into the oppose right so then some minor jumps out and amanda does a shot here but who's going to be a little bit of a different pose to kicking your hip all the way out take your weight on your outside foot cross over samson to here long chin towards may good girl and then I shoot amanda sequence here and then what have I done if it was a mother and daughter or if it was sisters I've created a sequence of images around one style to get me right any questions ask me questions yes the internet is wondering lets people were asking this yes ok and today uh if you could show um a side view of this oh she was to see what the neck is doing when you're saying that chin in now okay that you amanda which camera well where did this man okay so if you said into your normal into your normal sitting position everybody sits into their normal comfortable position which is thiss chin line here right so from the front we can see pretty much everybody's ten line sits back into a normal comfortable chin line all right so we'll do it from the front and then we'll do it from the back so the first thing we do is we bring the chin towards may like there and then down stop with that good can you see yeah so turn and face the camera and say I said into your normal nick letter and then we push out chin forward and down okay so from the side position when you're in a forty five degree angle this way and then you put your hands up on your hips and then you work your shoulder forward because we want body language and then we bring out chin long and ford and then down good thank you yeah okay so from the ass day look sister okay so from there I've got my sisters you're gonna be mom today sandra come on mama ok then I take a beautiful photo of mom in the same sequence so what I don't want to do is create three exactly similar shots but I want to shoot them in the same area so I have a few choices I can change up the pose I can add a prop or I can stand all three of them against that war but I want all three of them to do something different I want some owner to do aside on one I want amanda to dio front on one I want mom to do a recline okay so at forty five take your weight on the back foot I want you to lean with this back shoulder yeah that's it I want you to touch here good girl and I just want you to push it by mouth that way that's it and then dropped down here I want your chin long and around here done okay so then I shoot mom and a beautiful recline my looks great then I'm going to do the same shot that I did with the girls with mom in the center a case is straightaway I bring maman amanda faces sandra okay the semi's behind and straight away this is really really amazing member how we post the three girls on the couch and we all had to get her elbows on the couch and all of a sudden none of us could bring our heads together well exactly the same few come for amanda what kind of shooting around the window this is something I do in the studio but we really don't need to be shooting rather window here so it's come forward and show people yeah okay so you've got three women lined up so this is what I call traditionally the two to train when everybody brings their hand up like this okay and if one's like on a little too to train and you've got three little thunderbirds going okay so what we're trying to do is create some shape here so the first thing that I will do is put your hand under there you too can touch elbows that's not a problem so you can hold alberts okay now straight away our heads are all far apart and if I have to get them in I'm going to squish him and too much so what I'm gonna do is I'm gonna get xander to take your left foot out the back yeah and I'm going to get so watch this from the front this is very cool I want you to pull your bum back sandra no back out here pull it back your whole bomb is going to step out of there and these two are gonna go in okay so did you see that so her bum another fact get used to it you're gonna be in the shot your shoulders drop in your chins around okay you're going to come into but what it is is these two are going to come around j so basically you know way take out booty back all right we want our buddy back now you got three hk if you have three curvy bodies so everybody come back forward everybody bring everything back okay I want everybody to push their bomb back yeah so everyone takes their weight back on the back foot and then come sends her straight away you're doing exactly the same thing now what you don't want to do is have a whole other people tipping forward like that you know like you see that with the bridesmaids shot it's about taking your booty out of the shot dropping your front shoulder a little bit but staying upright a soon as sandra steps her body through back out and the girls and clothes here all of a sudden mom's the skinniest when out of the great because we've made a daughter sandwich yeah so I would be always more inclined to put kitty in the middle caving middle okay because then you can just pull on three so it always looks really good super quick question sure on the internet uh picture lady eighty two is wondering what if you have four women three daughters and a mom sure well are same rules apply I don't mind shooting this is a four the hard part is is comeback in the hard part is is you have to tune this way yes it will do to into so now this makes our two to train quite apparent right all of a sudden way too into so we do have to mix us up a little bit and I don't mind if you take your weight back three yeah okay and then you two come in closer as soon as you take your weight back through she stopped being two to train as long as he faces coming forward to its on the same plane I'm going to come into simone is definitely and open out a little bit more instead of being all side on this way but more importantly what I really want to do here is I want to create here around this daughter so you need to open your shoulders up a little bit around here and you're going to hack up into her arm and shoulder maybe to come in this way and then the two dollars come in this side and I can open up also mona can open up to may and then I can do you know my sister on the side so I want to try and just move those angles a little bit more so that we're not just all lined up like this during our future train because it looked so wrong yes it just try and play with who works and their body angle works better try and open her up to the outside daughter keep here there keeps a moaner here and maybe even the three of us it could wig if I come into this side and I've got my thumb into my jeans and I'm around the girls this way so if you were going to do that you'd have to do the two curves in the center and so the leaner on the outside because they're framing the other two in curves can rock onto the back foot and pull their weight through good how much controlled you tracked him and then when you have a bigger group because sometimes you know it's maybe an extended family do you get this kind of scenario where everybody's gonna be looking at you to some degree you got to be yelling and well ok I'm saying how much control do you try to maintain when you have a bigger group well I've posed to state ain't grave including throughout like three toddlers were in the and one baby and I just took my time at placing everybody where there was meant to be where they were meant to be and then I just spent the time clapping whooping yelling and getting it round to look at may and I will hit swap if I have to but I did just get I have this amazing thirteen shot where we built people around tears and all had them pushing forward I did shoot it quite wide and open and and it's just it's beautiful it's such a beautiful shop but yet you've gotta have a lot of control and there's a lot of pressure there especially when these babies in there because sometimes you can be going on just to get the babies we'll get babies and then mom and dad are looking off for nobody's working the chin so I just have to keep going keep talking it's the same as posing woman everyone sitting upright everybody looking at me everybody chance forward here we go here we go going to get the kids attention you know keep it going and lots of control but yeah very really could you leave their name people to their own devices and get a good shot so you talk about shooting to sell and natalie delgado asks for a sequence with mothers and sisters would you still do it nine by nine include their pictures together no I have a very special folio deal that I do for mother and daughters because they are my ultimate client I'm going to talk about that tomorrow but what I'll say about it is basically they are my biggest spending client so for a very small amount they can upgrade and double the sale they can sorry they can upgrade and double their package at a third of the cast because the thing is is ultimately she's going to be paying for it because the daughters always bringing mom and mom always pays so for an extra nine hundred dollars I will double the package and give them a state each because it's not costing me anything to double it well it is it's costing me product but the profitability on that's pretty good the the thing is is if I get the girls and get mum to come in but make it about all of them individually they will choose their own individual folio but they're together follow the mum folio can be quadrupled uh well tripled side any quadruple of this for you so I'll definitely talk about that yeah it's a good question one more quick linda maybe and also people are wondering if he's posing techniques translate to photograph being men mornar because men want hold alba's and men won't bring their shoulders forward and their chins around generally mean also don't really stand close to each other and maintain toe or turn off their energy outwards and they're all lined up like this their four guys were generally stand like four blocks that's pretty much how four blokes stand right and every now and then if they drink around that might throw there eh you better so the idea I think with guys is uh maybe have to sit a couple down build triangles or between them a little bit in so that they can still stay in there man position but that they're not facing each other or are looking into that ming decked in the energy towards each other closely yeah say that's a girl thing or a man and girl man and woman thing in any way her photographs man question from hendrik do you find women age thirty plus easier to pose the young girls it's um okay I read this really famous quote by kevin bacon that said the poetic justice of getting old is that as you age your face ages you start losing your eyesight you know luckily you can't see what's going on so much his woman start teo get into thirties and forties they become em fifty's they've become more sensual um then they ever uh and unfortunately it's not when you have that young hard body you know that you had with your twenty young women teenage women in twenties they can be sexual if they want teo they can even you know duel the faces and all the rest of it but a sensuality really honey I've only ever seen and women either thirty I don't know whether it's something that we arrive at or what it is but it's definitely a sensuality that older woman have and they definitely you can pose you know young bodies into doing just about anything with their bodies but there's something about sensuality or a woman who are slightly that a little bit older and they had this incredible sensuality they're not easier to post they're just different to pose but I often think at a time where they feel the most sensual and themselves you know it's just it's not fear that it's you seem to get it later you know you should have it all the time it would be lovely to have that that comfortable nous to feel sixty and feel beautiful and have that gorgeous sort of feeling that my things about thirty minutes if you want to call it okay so from the at what I'm gonna do is I just want to show you a couple of twos and three said on my fries one of my absolute all time favorites was the beauty shot lying down uh the beauty shot lying sorry the beauty shot sitting down on the ottoman real classic in my studio and it was one that I repeated a lot one that everybody loved this is also my menu too which is about getting the three girls on the couch together that works really well with young girls I don't think I'd try it with an old group of girls because they all head they're jane's wrapped around each other and the legs wrapped around each other and it looked for a guest genes to may and very funky and I would just pile them all onto a couch and make them get as close as possible obviously the idea with this poses that all of their hands arms and shoulders are working towards all looking like three supermodels just all I'm credit on together the to give a shot that I took of the girls just now when they've done the wall siri's each and they've done that to give a shot I will repeat that on a darker background and black dresses and make it look more sort of magazines I'll do the friendly light vision off that with light colored clothes on and then I'll do that black sort of I'm shot on nico in my first pdf yesterday I did a beautiful shot of simona and her sister and mother in black dresses and I just make it look really kind of square and fashion so I shoot it low there's no tilting I shooed it nice and low if they've got to be sort of slim door contour and I make sure that the obamas pushing away from the camera but they're they're not doing that tipped forward friendliness you know that it's very upright that they shaping the body but staying upright and I shoot it very square to the background do you prefer to have them all wearing the same color like if they're all gonna wear like white top well I tend to do tones more than the same color but I do but I'm kind of a monochromatic person so I kind of feel like it looks good to me like I like it when everybody is in black I like it when everybody is in white and jeans I like that obviously the girls or borden something black they all bored in something light we photograph them in dark and light but the knicks shot when they're all in black um we took a beautiful shot of the three of them together so I like the idea that um in fact is a sequence I shot uh leader sitting down um by the way I just like to say on that next shot on the family shot um I didn't retouch some bonus family and because I always just sent it to her un retouched and her mother is sixty six years old and that she's so divine I just love the simplicity of it you know I love that it's cropped just below the bomb line because I like that the girls are kicking their beauty out and they're doing that on purpose you know obviously leaders in the centre standing upright and the girls on either side of here but the idea is that they're both like this they're both kicking their bomb out I want shape I want shape and shoulder like why should we just take a family portrait with everybody standing normally like this you know why not ham it up a bit the shape of the images beautiful I love that you can see they get between leader and spiner you know I love that that it's an all black but I still I actually like this too so I want to create family portrait that I really contemporary like that and really gorgeous that is not just for the girls if leaders has been wanted to hop in I would have put him with the minor is an input to minor on the outside of him and done a family shot just like that mom and dad connected two beautiful girls on either side the same would apply for shocker if we're going to replace later for shock his husband and then have her daughter and his son there I will do an entire sequence of a family shot like that I don't have a problem with shooting on a plain background square to the wall because if I changed up simona and put some owner's husband graham and they're two girls in and then I got latest husband and just a couple shot and then I got the girls this trip mother and daughters and then put in dali there brother and then shot dolly and his panel leader and then shot checker and her husband and then their four kids I'm essentially sold twelve incredible portrait ce and all that down a state in exactly the same place I don't need to reinvent the wheel every time I take a family portrait when I need to do is take a killer shot of all of those people you're great yes it you don't have to go it's not about taking the most incredible background or whatever you could do that in the most beautiful garden what people want is a visual representation of an amazing shot of their family feeling good about themselves all laughing and feeling gorgeous and you know the first thing that they said when they saw that the facing of what war shall be born well good because people that are pleased to see a beautiful photo of themselves so um keep it simple keep it really simple so when you have the husband there with dad there and you always put the mom and dad right next to each other yeah and then do you like it was a mom and dad here and had one daughter but the daughter on the other side a dad was daughter on the other side of mom well either because mama's the matriarch of the family as well so let's if you look at it like this what you have to remember is the body language so for status the husband and the wife are connected physically or sexually so dear body language will always be towards each other okay and so a child will either hug her father's shoulder or our son will be this way too is dead you know he'll be in the shark but he's still against his dead like the two men can stand together or he can even stand in front of them and slightly off to the front pockets and his genes that works really well as long as she represent the couple is a couple and our child and so you can move people around but if you see it the centerpiece if you sent the set of peace is being mom and then bring dead and and there seem to pieces a couple and you can move however you want an announcement mom yeah yeah I make mama center or dead center but you know what sometimes you see the energy and family sometimes moms really dominant right she's telling everybody what today deads just sort of along for the ride you know she's the dominant one and the children are she's obviously dominant I'll put her in the same tad but sometimes dead is very very dominant you know and sometimes you get every even husband and wife who are very into each other well then they could be in the middle of packing around playing kissing cuddling whatever and the kids are usually just like I know it's so gross but they like it and they're all around them so I kind of watched the dynamic of a group and I see who dominates there in and who is more cherished and more love I've actually gone to put couples together and they've history each other you know it's like okay so the kids running around I want you to do a hag into a couple shot in there like you know and you just think to yourself what so I always joke freak arrows today and it's all have free cattles and I push everybody together and make them touch each other and cover each other and love each other and I mean what more can you do it you just gotta talk through what people of the dynamic that people have got any christians they're absolutely and a bastard all john if I could have that white bastard that goes up and down in the little white half store for the next shot there any quick at he actually has a good question on bethany from rhode island she says that when you post three women you put the curvy ist in the middle and you also tend to put the mother in the middle if you're posing a mother with two girls in one girl is heavier with you put the heavy daughter in the middle how would you keep the mother in the middle and still make the daughter looks okay I'm curvy daughter so you two together and I'm kirby daughter there's two things you can do one of them is if you open mom out like this towards me so that she cuts into my body line then obviously she we can either she can put its arms in her genes and weekend lock hands here I can be here or what I can do is I can take my body mess behind her to some degree and come around and if that fails you can just kick it all out here like that and bring it in a little bit on photo shop okay but if she's ten side on and I'm curvy then I'm kind of left out here on my own and I'm gonna just look like I'm sticking out here also if I've got really big boobs which happens there's no way I'm getting our faces together you're anyway I'm getting my face together now imagine that we've all got really really big boobs just imagine that got that um so we've all got really big boobs and obviously we're gonna push ourselves out there anything we can do is really come in to each other that way so yes you are going to get more of a cave in but also the good thing about having really large boobs not that I know is that you can move them they squish so it's kind of a boob squish and then this one will go oh my god your boobs that question to my back and I can feel them and then they all go home and laugh and then you more opportunity take simple candy shots the question from gen brust do you when you're directing do you have the camera in your hand are you putting them on I pod on dolly wheels so I go up and down I don't use a tripod because he saw yesterday for obvious reasons and the other one is the monitor part just goes up and down and I can kick it to the side but the most important part and when I showed out I'm shooting till the next I'm gonna have the strap just because I need two hands so if I go stretch I can put it there and impose with my hands if I hold the camera I'm posing with one hand and it just does not work as well is when I can use two hands to show movement thank you uh we have a question from a gentleman in the chat room ram and I think you went over this a little bit yesterday but maybe recap on it today being a guy uh mostly photographing females how can I get them to hold their gaze without being creepy okay so um what's really important is I've watched a lot of behind the scenes videos and you know that when I'm talking to you I'm being authority okay I'm being I am and I'm actually authority especially if you struggling to get into a chin ford or you're struggling to get into a pose I am quite strong and my opposing but never at any time in my this chain around me I hear a lot of guys say they soften the voice and to create a mood but it's like dude the only mood you're creating for me right now is I'm gonna bring up my breakfast you're posing someone you're not tryingto make love to them or maybe you are but then you might have a bit of trouble posing them unless they like you in which case it's game on for everybody e I just don't be creepy if you don't want girls to think you're creepy don't be creepy it's quite obvious what creepy is I mean I go back to russell russell russell is probably watching for battle taught me I was twenty two years old I had no life experience twenty two years old I'm a kid you know and I loved the way he loved women and he never loved them like you know hey when my best looking you he was confident he has a mother and two sisters that he gets on really well with when he posed a woman he'd moved something girl nice but never any time and the women with pose for him and feel beautiful and like wow but he never took it to that place where it any time where is like and if you're thinking that don't keep it to your south later yeah suit dermish asks how often do you have a full length portrait sniff us we haven't seen him never oh unless they jump up in the end do something like that when they feet come in I just don't see the need I think a full length portrait gets me further away from the face and the expression everything I do is cut off it the bum or mid thigh and every now and then I might take it to the knee there's no reason for me to take a full length portrait yeah quite weird I know but it's very true everyone really liked your impression of creepy e o so I've been creeped out by clients clients have been creeping towards me say you know sometimes I think to myself it's like the worst situation that you can be in when you're supposed to be vulnerable and trusting somebody and they're making you feel awkward and you even want to be in this situation it's too methodical shooting for mayors too methodical maybe other people want to get more into the mood of it but I tell you what I could be standing there like this with somebody I can say in this voice I want you to put this knee up I want you to bring your tower up amanda I want you to push your booty out I need you to focus on me because you're not listening to me I need you to stay still stop fidgeting I want you to bring your hand around like this I want you to kick your bum out work your shoulder forward like I said pull it albert beck and once you're in that pose pushy chipboard eyes down to may reelection mouth and now just breathe eyes up and that kid is exactly and they can look is sexy as they want and I don't have to be all like yeah to make them do that if you just try to hurry it up and end the session or now I just kind of laugh but you know I mean I've had a couple of creepy people be crazy too may as I'm posing them so we now have half a hour I misspoke earlier let's keep going all right so now let's look at the bastard's head on so the bastard or iran was winter miner did her fashion cordially I call it fishing quarterly it's one of those things weigh realized our couch wasn't tall enough way can't amanda can you push this over here okay so this was my one shot wonder this is in opposing manu come this way can you pull those okay listening goes up here ok this was just a pose that we did and the idea was that we stay get it okay so the whole point there's maybe put your foot on it you take it off me yeah yeah all right so the whole point of this poses that we've made triangles we've made a triangle here okay we've shut up nice and square so her body is pointing in this direction here but if faces square back to this camera here very very important and we've created another triangle here okay so there's another triangle here triangles and more interesting we've created another triangle here so there's create space by the way in my posing manual this is what I call the fashion quarterly or cut another version of the cover shot this free fashion it's free angula it is not for curves okay and if some understands up partially why reason it's really not for curves is because the curves fillol the triangles except for that one so it just sort of shut it all down you know what I mean there's no space and the more space here is in the shot the more slimming and open it looks so that there would be the only pose that I say it's not really a curvy pose rebecca so the idea with this is if if daughter takes a really beautiful covergirl shot she takes a really gorgeous shot she's facing this way she looks great and then I want a sequence here then straight away I'll drop the sound down and then I'll bring them in this way okay now she sets up a little bit further and we can connect with our faces this way now we can hold hands here we can lock in together we could do a beautiful shot to get that I can embrace here my daughter and bring her right and we can love whatever you want to do anything like that but all I have to do is stand up behind her so it's really good for my body line because my body line just sucks into here's anyway so again too curvy girls not a problem I just wouldn't sit her down and cramped up her arms and legs I would sit her down and ford with both of his legs down that way forty five degrees and then I would lean forward and then lock their arms together here so I would bring their hands together here but I just would not have the more crunched up arms and legs up into the frame so filling the frame out this shot here works really well for the boys and girls too because if this was my partner he was here then I could be on his back like this um I could put my arms around him he can stay open like a guy and heaviest legs and arms and these out and have all of his manly position and I can work it here or he can turn around and face me and I can stand between his legs and we can do all of the couple stuff where I'm standing and he's holding me tight around the waist so that's a really good head on here tio don't e I need a drink of water I think I can lose my voice on day two okay so what I've got on this card for dad on three wait I just put that out please check a question at me when I'm just looking for this question do you prefer vertical or horizontal family portrait advice yeah by vehicle it's actually harder because you want to get the faten anyway you get a vertical family portrait is by doing that um they said you used to see the whole feet standing tues it's always vehicle for me mostly um but the good thing about threes here is what I actually did with this image is if you stand up I actually got one girl it's go away go away I don't want you to sit on this one so um so you sit there and instead you come here and I want you just like neil your bomb there okay said that you're just in this digging not staggering line as many cheers that you have to go a different heights the better because ultimately I can post three now like this okay so once I have a three step um I can do whatever I want with it so we connect these two together here okay so they go towards each other and then what we do know it's really important is that we connect our hands to each other now often when I'll sit three people down I'll get them into a position that I like and the fish out I do is one that's quite posey so I'll do the best girls up like this I'll do some minor leaning on her knee I'll do not you're not going to marry makers will be two wings out there so you're going to just go over here arm and down towards here and I might be here so I'll do three then what I do as I say bring your arms together whatever looks good from the front so if it doesn't look good from the front I chained it up but then what I do is a zai talk come through the expression I bring them into more of a laughter and I bring them one together so that there are laughing and leaning on each other I might say arms around each other and they will literally find their own way like somebody will grab this one she'll hold the hand's in the front and they could do a beautiful laughing see it serious together and it looked really gorgeous as long as you have that stick so I call it staggering in the poses and I've got bass doors that have you know how you have the bastard with shape of the bomb but it doesn't have a back on it they're the best ones because the bum covers it and they go up and down really high and really low that image there has two of those bastards and if you have a look at the back of it you can see here with the bass turtles uh that one is lower when us higher and one is standing now there is a really killer shot in my studio of a mother and two young girls and it's this image here um it's a thirty forty and my studio so it's a very large image that would be the most requested image in my world so for some reason when the mothers see that shot of that mom and those two girls they walk in and go I want that now that tells me the mom wants to look hard and she just wants a beautiful photo of her and her family where she's looking really gorgeous because too many times we're focusing on photographing the kids and we're not looking at what mom's doing so a few shooting family portrait's and you're out on location the idea is this girl here is the one that's paying she's paying you okay knows she will pay you based on how good she looks her kids look good any time of the day she thinks her kids look good when they're pulling stupid faces when they got really bad teeth because they're growing the new teeth and they got these big dokey smiles she thinks her kids a beautiful all day every day but what she wants is to feel really good so for family portrait photographers for the mother of the bride just be aware that this matriarch of the family here she has the chick book you know she's the one in the family that controls the spending and when she's happy she will by now dead here I'll be dead dead here thinks he has the checkbook but luckily mom here knows that dead thinks that and as long as he thinks he's in control everybody's happy right any questions yes sarah and seattle do you tell people to leave non participants at home in other words no viewers during the shoot or do you let them come along oh that's a good one okay two things happen here they can really put it down on the shoot if they come in with attitude that the viewer secondly some people bring in a lot of people bring them in is somebody to help them dress and reinforcement you know women don't go to the toilet on their own if it's a young man and he's a boyfriend and he wants to watch a young man so I put this in my marketing demographics the young guys are usually like this the whole time he's gonna pay for it because he's just my beautiful young girlfriend is up there in the laundry and I'm just blown away right now they love it the guys have a city I like what I have to watch you get you here and make up done like I love you but do I have to watch that they'll go for a walk and then come back uh but the girls that bring a girlfriend then yes do you know why because they're my next client so sometimes they can be a pain they can be a bit of a sort of side viewer and put in a lot of opinion but I I've try and friend them the same way I would friend the person being photographed because ultimately she's the next one on my network and she's got if if I take great shots of some minas and was gonna come back she's gonna come back anyway because she's seen the process she has no fear of it she's met may she likes the studio awesome I just doubled myself nice thank you okay so let's look in another couple of twos that really work for me this is a really beautiful shot that I tried um in this wig's jump out sandra uh I'm gonna owe you she die sanders now um we're gonna be a partner okay I will have a little half still like that that you can sit down for a partner and you're going to sit down between his legs ok so ultimately the biggest mistake we make there is to put people directly in front of the partner okay two things we never do one of them is three things we're never do we never put the girl right in front of the guy right in front like sit right in front of him okay why would you step people up like that they can interact with their faces there's no body language like that so the idea is she's got to sit to the side and the easiest way for her to do that is to sit on one of the sides but I go this way because then you're all broken gone here now you figure that way to me but I want your elbow over here yeah and then ultimately right over so you're on this side of him right ever yeah so you're going this way okay so then they can interact as a couple like he stated he slightly higher you can't sit them down on the ground because even if guys are a little bit taller if guys don't have a lot of flexibility through their torso so if they're sitting down there bound they get shorter and then the girl sit in front of them and they can't bring their arms up and over the idea is that they want to be up and over so that they can put their arms up and over and bring the head forward and then they can kiss cuddle laugh interact so I only ever go down to the floor like this with a couple assumes you in this position here you can bring legs up so this is one of the shots that I absolutely laugh for a couple because she could bring her legs up her arms up and then they can interact together right so I really like that another thing that's really important we never had any time does he bring his arms underneath hiss ok haram's never got on the outside you think that that doesn't happen but that happens all the time I see that so often and shooting and food late you don't have to do this one never has any reason why he would become a human bra okay if you're doing a skin shot and you want him to cover her breast line he covers all of her boobs but he does not hold a tit in each hand if there is no reason for him to have his hands around here like this with a tit in each hand okay it looks horrible his foul body language and never is there any reason why a woman would have a photograph holding a tit in each hand sicario I am holding it it it doesn't translate to a mood for a pose and there's so many poses you khun do skin poses where you don't show the breasts but you have got no top on that look beautiful that don't show nipples I allowed to say nipples okay uh so from there the the next thing that I do with tues which is very very important is a simple sitting like this to stay down there if samona sits in front of me staying here so they're twins that aaron my manual said exactly like me and bring your legs in front okay so the twins in the manual I've done like that so um you need to kind of come back to me and into inside on a little bit and then sit back to mesa not forward to right up onto your fingertips that's it and I shot the twins there and so I'll sit people down I'll bunch them together but you always doing really trying to achieve the same thing you want all of the poses that look slimming you want all of the shoulders that worked towards you you said that you get beautiful energy there but more importantly always trying to get a connection between the two people in the image so when you've done that when their bodies look good there in a pose when they face is that good their shoulder so good the last thing you connect is the hands okay so always remembering that they have to be connected with the body language so whatever that is whether it's here whether they holding the genes or themselves and they're just doing lean back to may and they're just here taking a gorgeous shot their hands in the body language and how you finish your pose is always where your hands are on the body very very important all right any questions do you keep the studio heated like when you're shooting newborns warmly borns on your phrase not here so for young you keep the studio heated because they are wearing less clothing yeah I think about my clients but then I think about how much I'm sweating and crawling around on the floor and then I'm usually trying want the map called them down one up call them down but ultimately yeah what if what he was going if they sitting there going blue I'll turn the heater on and if they're um you know if I'm too hard I'll turn it off so I have to be out of work and it's so yeah and again you're you're backgrounds people are asking about the wall okay so what I'm gonna do is natural light studio when we come back from break we're going to live together in shoot curves because kids was one of the best things that we can teach people is more and more ways to make the body look hard and mike is gonna be our curves going we're gonna tear the life and she did so that you can see it we're also going to put a live view on that so you can see it being posed not just the still image that's coming out of it and then what we're gonna do after that is a natural light studio so I'm gonna break it down and show you the images of the studio in the lounge and I tell you what else because that's for the rest of the day all right so how much time do we have left we have fifteen minutes or so that we can break now if he wants totally up to you okay well I would rather spend more time shooting live doing kid right carrying on I mean I could keep doing it but the truth is is that um same rules apply its just omitted in more practice and more practice the same rules apply what sandra said yesterday about looking at the menu and when you're learning to pose and seeing it through the camera as you can see what you were doing fundamentally wrong the problem is is you often see it after you've done the shoot but you've gotta learn from that in practice it and do it again it is not it is it is a really great idea to practice it's many poses as you can with a friend with a model whatever but if you're practicing with a slim model who knows how to move you're not learning how to when you're challenged by two femoral who can't move because that is when you walk into a shoot and go what the hell do I do now and your stress levels go through the roof and you tend to revert back to what you know instead of what you've learned so there is all about practice really important

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!