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Modern Women's Portraiture

Lesson 28 of 37

Posing Multiple Body Types Part 1

Sue Bryce, Lou Freeman, Lara Jade, Emily Soto

Modern Women's Portraiture

Sue Bryce, Lou Freeman, Lara Jade, Emily Soto

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Lesson Info

28. Posing Multiple Body Types Part 1

Lesson Info

Posing Multiple Body Types Part 1

Stand up, cathy, this is kathy. Everybody I'm wearing six inch heels. Kathy, how are you? I'm five eleven and a half, five, eleven and a half. The reason I chose kathy is because height is easier to photograph them. Wait, so I don't care how cuvee my clients are when they're tall, they're easier to photograph because tall means length regardless of your body size tall mains length that's why models at all? And so I found when I started to photograph tall girls they photographed so much easier than short girls because I didn't need to lengthen their bodies. So when I when I teach slimming, lengthening posing I'm teaching you how to make them longer so that's why I chose kathy stay standing again. This is danielle. Stand up. Tinny out. Danielle is five one on a good day uh five won so in short of the may without shoes on and the difference between these two is thine inches and teenagers is significant when I look at the span of their arms. Okay? And so I'm trying to create space around t...

he body which makes people look longer and slimmer and gorgeous and there's a significant difference in the space around l bodies in the space around cathy's body so I want to show you the difference between it so you can see it I get this is andrea andrea works that creative lives she's being my model before for twenty eight days you've seen her before and I'm going to teach you how to link then she's mid range she's kirby and I'm going to show you how to make her body look long and gorgeous as well this is kate the reason we chose kate skated in every foolish years a double chin so kate medium build she's average height she's not wearing hills and she's almost the same height dismay in every single photograph that two weeks but okay now a client of that two weeks but we'll not buy that the case I'm gonna teach you how to make that week what really really strong I get clients with jowls I get clients with very large noses that don't like the nose is one of my girlfriends has the nose that when she puts her chin down the tip of her nose looks like it's touching the top of her lip and she hates that so I can't chin forward and down here so how do you get around those little things that make a big difference and posing and then we chose ashley so as she had a big lunch on sometimes you get clients they have big lunches and so the difference between how I pose these girls is for these girls I'm going to tape of their waists and for this girl I'm going to accentuate her waist and the way I do that is every time I posed them I'm going to use her hands on her belly we never put our hands on our belly and least we're pregnant okay, so everyone of us put your hands on your belly none of us look good with their hands on our belly but but here because we look where the hands go right chin shoulder hands hourglass body language connection so we're going to simultaneously pose all these different body types so that you can see it any questions ask me now if you got anything you wanna ask throw your hand up grabbed the microphone same was in the chair and you know we can go for a hundred years going what would you do if they had this at a symmetrical face? What would you do if they have short here what we do that's not the point we need to link them look long lots of body language lots of connections so let's have a look at that. So this is the posing manual that I started with and the reason that I showed this posing manual is I want to start with a very basic beauty shot with all of my clients so if we go to the keynote this six seven eight, nineteen, eleven, twelve sitting supporting I'm gonna take you back through it again sitting so they're sitting basic images here and I would start this with every client and everybody type and everybody sais let's look at the difference between them when I take the first shot, the first thing I do is I get them to stand comfortably with both of their feet relaxed like that so that they weight is distributed evenly and for just about every girl here except for actually I would get them to tip their bomb back and what happens when they tip there bam bag is that the face comes forward a little bit more. This is a beauty shut I'm cutting it off here right at the boobs, so on the bomber's just simply putting the perspective back so that the faces coming forward in them with every one of them, I'm going to say chin forward and down okay, so straight away we're just talking about it about kate's chin she looks fabulous how pregnant model doesn't need to lean forward because she doesn't need the pressure on her back I'm just going to take a beauty shot of here and if they cut it off at the boobs she's not going to look pregnant now every time I have a maternity client and I always take a beauty shot of them that's not a pregnancy shot because she might want a beautiful shot he chart of herself that she can use on facebook that's not look I'm pregnant okay, so all of the girls I'm going to get them to push the ten forward I'm going to get the push the ten forward and you watch when everybody first put see chin forward everybody goes at this and so they all applied theories that pen back and all you have to do now is push shootin away from your neck election mouth okay? And you'll see all of the naturally have their hands hanging forward so that no that's perfect that they're all doing exactly the right thing that everybody does their hands they're hanging so we've got two choices we can bring the hands up onto the hips so their backs nice and straight with their bombs from the side they like this so they addicting that chin forward to that that beautiful beauty shot or a really slimming way to do it is I want you to put your hands down like this so that they look like they're on a table top and then I want you to pull your elbows back just a little wee bit past your waist and squeeze in with your elbows and what that does is it pulls them and here and type is them in here and then when they pushed the chin forward they have this absolutely perfect beauty shot now how we does it look ok, so my client is having the fish shot and they're standing like that okay and that moment I take that shot there with their chins pushed board the eyes a beautiful there in a gorgeous position, they've got this beautiful shape my makeup artist is you should be here. I get that connection through the eyes that is incredible. A little bit of asymmetry space on the shot, and I show them the back of the camera, and from that moment forward, they would pretty much do anything I say, because if they all stand up right and relaxing, chin's, not one of them have that face that long to find nick, because nobody does when they're standing upright, okay? And this year a fashion model, everybody goes into the relaxed nic the chin is usually predicted up about an inch and that's not a nice shot for everyone in your eyes, a small because your chin up. All right, so there we go. Number one with we molding their bodies number two now I'm moving around them. I wouldn't keep this pose here if they go back into this post girl, I wouldn't keep this pose here if I pull back in my composition so let's go just hands onto the hits and it's get the girls to all rock onto one hip and all of them are going to push the beauty away from the camera, so push the that away from the camera and the chin towards it from side on its very subtle but from side on they're not leaning forward, okay, very importantly, just simply here, and they're just putting the perspective of the booty back in the ten forward and then when you focus on the eyes and you bring the chin down and you engage the eyes and you frame your shot it's tapering the waist and pushing the booty back from here, I've pulled back another steep in my compositions he guys are watching the monitor rights, yet at home they can also see the monitor a swell as the girls from here I'm mixing up the arms and the composition, so I've gone from this position here to everybody just bring this hand around, but have a look at this this body's doing it on opposing manual, the girls need to touch the thigh and then slide the elbow back here. Now I'm only going to change my maternity girl when it's relevant to maternity, so at this stage, if I was going to take a front on shot with here, I'm posing her hand on the top of her belly elbow down this hand ripped around the bottom of her belly but not touching her crutch okay, because this is a common mistake most people make with maternity shots is that they do this and it looks like she's holding down here and you look with the hands are I want to accentuate her bump not if any oh, it doesn't wait for you guys no, not the front we call it if any where I come from can get a bit confusing. Okay, so the reason we took this elbow becker's this hand touches the I I we slide up and we push your elbow back. Why do we do that? You watch all of these body types when we take the elbow around the body we get definition here, okay? So if we're our hands and here ladies, everybody hands by your sides settle maternity, you say hands on your bump okay? Everybody here like this, none of us have a waist. We're all just straight up and down now please put this hand up onto our waste and kick out onto our right hip and now we've got this here going that way and so what we do is we touch here, slide up my back bam! Okay then all of a sudden we're doing that and the body language for that is very significantly different everyone pushing the chin forward down slightly engaging, beautiful, nice look at this shape and everybody is changing the shape of the body now lean buddy once bigger boobs and bigger hits so essentially they want an hourglass and lean body which is opposing model she's so lean she doesn't have a lot of boobs are a lot of hits, so we're giving her boobs and helps playmaking who work this and then define it a curvy body wants a smaller waist same thing, same objective a curvy body simply once movement and a then a body simply once big movement as well. So the mohr they can over extend this movement the bit of the body's going to look now when you're photographing anybody type with the assure whether the kirby whether they're long don't let them push their pelvis towards you, okay and don't let them t part so when they say papa hip out that like, literally probably about and you say push you hit this way they have to keep this shoulders here and move like this. So what? You're trying to get us this movement here, okay in them and some girls dot can't move there particularly lean bodies, you'll see them, you go okay push you help out, they go and you're right now really push it about and they go like that and then you're like, okay, that really throw it out there and then they're like this or they start to tip, okay? We don't want little t parts what we're trying to do is just create this space here and as I'm shooting, I'm pulling away from my composition and if you look at the menu, I'll go back, then you start here, you've got close up, pull back a little bit of negative space a little bit more space here and then we've got the cava girl shot okay, so you want me to go? You're just going to keep shooting it's we're going because we're building a little catalogue of all the girls together, okay, so I'll just make sure I move out so that you can see all the girls. So from here let's go both hands onto the waist, okay girls now know that's what everybody did this is what all clients so they all put their hands on their waists, which is down here they really put the hands on the head, okay, the waist is here and so this is how we make so waste case ago there, can't you hits? We were why they want you to do girls is all of you to lift your hands higher and then bring it n that's it. So again, we don't know waste here because we don't want to, so we've only got three choices were simply circling around the body both hands up both hands at the top, why not went down and we really just have to watch her chin and we can't move his sideways could a pregnant woman can't twist and can't kick out and doesn't need thio until she goes side on? And then she comes up onto one toe and kicks her booty back there and then put that hand down there but not too low from side on, but I'll show you that when I moved them as well, so from here, see how they've gone from out here, so go out wide, kate, and then come up because you've got a really good hourglass dress don't let them scrunch the fabric here, it's really important, okay, and this is called for waste, and what we do with four waste is we're distracting the camera hold it from an andrea we district the camera because when you photograph me here, I'm wider, and when you photograph me here, I'm narrower, ok, so we call this boat waste it's, fake waste and it's not your real waste is so to all the girls when I'm facing them and I'm photographing them, they go from out here toe up here, and this shot is my cava gil shot. The one thing I don't want to do is exactly what kathy's doing right now, rolling her shoulders and elbows forward because we look like linebackers when we push out shoulders out, right and it's a very common thing for girls to do when they do this position they get into cover girl and they roll the shoulders forward so to correct this stay we were I'm going to just say drop his shoulders and relax them and push your elbows back and as soon as her elbows go back from her body she's no longer rolling forward now if you need to further slim them down here for waste take your booty back a couple of inches push your ten forward and down and engaged there and that is how I do the cover girl shot and that cover girl shot pretty much shells to every single client that I even photograph all right from here I do a little bit of a range and then I always to look down and a laugh because I feel like my clients always buy this now as I pull back in my composition the first thing I do with the opposing as I get them to put one of their feet up here on the toe in front of their body and now they're really rocking an hourglass okay? They're rocking an hour glass and they can work their air glass and then they can move a little bit side to side in their hands could go one up on one down instead of directly in the centre now I can get lots of sideways movement and pushing the chin forward beauty back very slightly eyes down relax a mouth eyes up the issue shot and a really good way to make them do this for the first time it all if you can do it but stay facing forward is I want you girls to all of you push your chin forward I want you to look down to the ground nice to find chin I want you to stay looking down at the ground and do it big laugh on and that's when I take that fish shot where they look like they're laughing okay firstly they do it they feel stupid so they go there ha ha ha ha ha ha and I go that was terrible and then they really laughed so generally they go ha ha ha from that moment when they do the real laugh so this is what happens? This is the progression of this pose for you see, I go and big laugh and they go ha ha ha ha and I go that was terrible and they go this way ten and right in the oh oh you're not gonna buy that. So you got to get somewhere between that and you gotta move fast could see the energy's up you're laughing I'm being silly that was really bad pushing chian foot girls look down nice big love there was awesome bang bang bang okay? And the good thing is that when I'm teaching photography is is photographers always holding the camera? So this is how I teach photographers I'm touching their back, you know, like come on, come on, come on and then I go come on big laugh in my photographer you dropped the camera go as well and I'm like click click, click that's when and then they'll go oh, very good, because they were swept up in me holding the space and what I'm doing is I'm holding this space long enough for them not to feel stupid in front of everybody, all right? Because what you want to do is she can't fake laugh now a model we should have made rachel fake laugh, but a model can fake laugh a model can do this where they go and it looks like you you get real woman to do that and then you see like this okay? And so the only way I could get them to laugh is we do this stupid thing we were in the studio where we always go way love anybody facebook that okay, so the idea here is you gotta keep them and meet him these girls are not trained models, they just everyday people that don't want to feel stupid, you've gotta hold the space, you can be funny you could be loud you khun b authoritative but do not stop holding the space if you guys went sitting there and it was just me with my back ten and I just had this girl and my focus and I was like pushing tin forward andrea eyes down kick out that hip a little bit more nice big laugh away good gil that was terrible I want a real one on and that's exactly why I've got a whole debt space I do that by being loud and consistent and if you're not like you don't have a big loud voice just hold the momentum okay because she will forget for one second that she's doing that and let you get that laugh and then that sells every single time now bringing hands up is difficult and even for my client in the posing manual yuka and see that they hand us not look right now the general rule of thumb is the coup via your clients are the list you bring the hands up the shorter they are the least you bring your hands up and let's have a look while it'll just bring out left hand up to your shoulder girls because the shorter we are the more we block down the more we close off the space around their body but then we were long we've got these long limbs that works and then when we're lean and long it's perfect so it seemed and fear to me when I was learning to pose non models, that my riel plants, my non model clients were shorter limbed and therefore couldn't do as many poses. He is something that you need to think about and argue about. One of the things is this every one of these women know how big they are? Trust me, women know about their bodies, they could tell you the body biography. When I was seventeen, I put on eighteen pounds, and when I was eighteen, I lost twelve there. When I was twenty, I put on sixteen pounds that year, we know our body like we always spend their whole life telling that story, right? You get a client come in, and she goes, I'm not feeling that good about myself. I've just put on seven pounds and it's like, if you hadn't told me that I wouldn't have known what the hell to stephen pounds matter, but we say it because we need to make it very obvious that you need to know about where I am right now, what I'm going through and that I used to look harder even pounds ago. I don't know why we do this, but we do, and so one of the things I realized is that not only are we all aware of our body shapes all we want is to look the best we can look for our body shape, we're not trying to look like a size zero, we're not trying to look like a size two, we're just trying to look like a heart size, whatever we are, so if I'm a size eight, I want to look like a hot side eight, but I don't want to look, you know, bad, so I'm way think women are really unrealistic, but we're not. We just want to look at harvest, we possibly can, so sometimes I would get kirby clients, and when I was first looming, I would stop them from bringing their hands up, because I would think that the arms and hands looked big, and I would think she wouldn't want that, or I would photograph kubi clients like a passport shot, like twenty photos of the here, because I was too scared to take a photo of the body in case she thought she looked big. And then one day I photographed a theory could be girl, and she said to me, he didn't take any photos of my body, and I realized that was my problem, like I thought she thought she wouldn't like her body that's, not what you're trying to achieve here, you're trying to make everybody look amazing, no matter what the size is. Regardless, the middle health, then they are, no matter how curvy they are short, they are tour there. You're just trying to make them look gorgeous and what you're trying to do. It's, lengthen their body, get them to give you body language and shape so that you could take a beautiful photograph of them, can eat through the eyes, push your chin forward.

Class Description

Beauty is an ever-shifting, ephemeral, and crucial element to capture when taking a successful portrait. Learn the art and science of photographing beauty straight from four of the best fashion and glamour photographers working today — Sue Bryce, Lara Jade, Emily Soto, and Lou Freeman. Through dynamic instruction, each of these world-renowned photographers will reveal the many skills and techniques that create their unique, unparalleled styles.

During a live mentoring session, Sue Bryce will push audience members to define their true purpose and set an actionable roadmap to make it a reality. Sue will also cover how to craft authentic marketing campaigns that resonate with women of all generations. Lara Jade and Emily Soto will reveal the choices that define their distinctive, award-winning styles, covering everything from lighting to retouching. Glamour photographer Lou Freeman will teach what women want to see in their portraits and walk you through the right questions to ask your clients.

The four photographers will then reconvene for a grand finale: six hours of posing education. Sue will teach her signature beauty and glamour poses, Emily will delve deep into creative posing techniques, Lara will cover fashion posing, and Lou will walk you through timeless boudoir poses.

Class Materials

bonus material

Photoshop: Alison Action

Mentoring With Sue Bryce

Photoshop: Victoria Action

Pola Negatives

Emily Soto Posing Guide

Lara Jade Posing Guide

Lou Freeman Posing Guide

Sue Bryce Posing Guide

Ratings and Reviews

Student Work

Related Classes


william mazdra

Occasionally, things fall into place, and you end up with the kind of event that we just watched. It was marvelous to see these four amazing individuals contribute their own perspectives and content and to see them interact with one another. It was honest, brilliant and a must have to view many times over. One of the best courses on Creative Live and further evidence that Creative Live is going from strength, to strength and is worth every bit of our investment and time.

a Creativelive Student

This was such a great 3 days! Each one of those women are so inspiring in a different way. Sue Bryce is my absolute role model and it was a great experience to get to watch and listen to her. She makes her lessons relatable and very easy to understand and remember. So many small tips and tricks that will make a big impact on how I shoot as well as how I market! Thank you Sue. I had never heard of Lara Jade and Emily Soto before this started and I can say thank you to creativeLive for the opportunity to be inspired by two other amazing women in the photography business. The unique style and confidence they displayed was great to watch. I don't shoot fashion, but I was able to take good bits and pieces from it all. I am stepping out of my box... starting today! Thanks again to each of the women and cL for putting this all together. Kristin Campbell Journey Images, Alberta, Canada

Kim Sleno

As a participant in the live audience, this is a fabulous course, from Sue Bryce's honesty in helping a person to look within themselves to find your own motivation, her wonderful real examples of posing women, to Lou Freeman's posing for boudoir this is a course that will help a person learn a craft and where they might want to go. I loved Lara Jade's vision of fashion and how she has arrived at such an early age. Emily Soto brings a different dimension to fashion photography that is inspiring, from her use of vintage cameras to her editing skills. This is a course for anyone wanting to learn about photographing women. I highly recommend. Thanks CreativeLive !!