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Modern Women's Portraiture

Lesson 29 of 37

Posing Multiple Body Types Part 2

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

29. Posing Multiple Body Types Part 2

Lesson Info

Posing Multiple Body Types Part 2

Hands look beautiful when they're relaxed, okay? And hanson never relaxed. Most people do the fist the claw or the thunder bed okay? And so the only way is belly hands and this city ways to get belly hands and that is when you sweep across the color tage nice and soft ballet hands when we touched the body and we give the hands a job to do in their hands really should be touching something and if they're touching then they'll be soft so girls, I want you to just freestyle with mei and I just want you to touch up like this. I want you to touch the bottom of your like bra and then I want you to go across your college taj right to the outside of your shoulder and every one of them have got good hands when you're making them do something now we don't do poses but I like now put this hand here on this hand here I see this all the time now what we do is we touch the hip, okay? And when we touched the hip we hold the back of the here and we push it up. Now the one thing we're trying to do when...

we bring the arms up is to create some space to touch the big u here yeah is to create some space in here triangles make you look slimmer triangles are interesting and photographs that's not that's not what do we call that leg of ham now arms a short and elbows a bet we look like we've got a league of him and it's horrible and there isn't a woman on this planet that by set shot so we have to try and create some space in the spaces here now as soon as you get everybody to grab the here everybody gets shorter all right so what we're going to do is create some space here easiest way to do it is pulled your hand from the back of your head out to here because straightaway I know here the hand links here that I didn't have poor and secondly if I was trying to be sixty for felix I wouldn't be like felix how you doing you know if I was touching my here would be here I want space here ah all right I need to push it out now watch what all of them did when they put their hand up if a single one of them tuck the ten in do you know why? Because for some reason the arms are connected to the spine and when you get the arms to do something with chin goto what is that it's so bizarre every single time I get the girls to pop a hip out there tim goes back I get them to put an arm up their chin goes back so I'm trying to monitor that I'm trying to keep the pose keep the body structure, keep the movement, keep the hip, keep the body language, keep the touching keep the space and pushed the chin forward and then and I've only been do I pick up my camera and get the expression soto hold it I do this listen to what I'm saying I want you all to put your foot out like this and rock onto one hit let's go this way I want you to bring this hand across your dick allah taj beautiful I want you to bring this hand to the bottom of your brass trip I want you just to push your chin towards may gorgeous chin down just a little wee bit I want you to look straight in the camera really rock out there hip drop down this shoulder gorgeous lots of shape going on look at them all working it right and now I've got to get them to hold it because they're going to start slowly turning into little teapots they're going to start rotating away from the camera they're going to rotate away they're going to pull the chinen everybody's gonna look I'm comfortable and constipated in about a minute if I stop talking or they're going to feel very self conscious and suddenly start looking like this so what I want is for them to look at may and hold that push the shoulder down beautiful good till kathy beautiful little bit higher come up into bits in the tank of gil gil gil perfect alright, beautiful andrea push your chin forward gorgeous beautiful cake go why don't your shoulder beautiful beautiful ashley and now if I hold that space and I keep talking to them and I'm holding the mood and then my camera comes up and then I make my final little tweak and I go click click click okay and that is how I'm posing right down to the last eyelash and there is no freestyling going on in my house, okay? Because we do not leave them out there on their own once you're out there on their own they will revert now some people have this weird thing where you tell them to put the chin forward and they just slowly start bringing it back and you say chin for and they slowly start bringing about you ten forward or you go chin up a little bit and they go the other way and they just keep coming down there turn up a little bit and they keep coming down to have a little bit and they keep coming down and it's like they gotta reset button the second you stop talking the body stats resetting and re sitting and re sitting so in an average day in my studio you will hear whatever your reese it is you're doing again andrea pushed him forward kate push it in for andrew pushing tim ford cape pushed him forward and you put your chin forward kate put tin for it doesn't start ten ford work it more booty keep your hands self drop that shoulder way to go okay ten for ten ford relax your eyes smile with your eyes good girl keep going keep going don't stop doing that for me keep going keep going good never once in my beautiful gorgeous darling sweetie gorgeous darling beautiful it doesn't that's not what I'm saying I'm giving her direction and she's listening to me when she's listening to may her eyes were looking at me when her eyes looking at me she's looking at me like this teapot stand up nice and straight good girl relax I want you to push you about a little weed but more push your chin towards may good that's nice and from here bring both hands down and just like hold your heart don't tip you hid away chin forward good girl election mouth now and cathy just a beautiful little smile to your eyes got it there it is beautiful good girl okay and then when I did say beautiful I just seated at the end I gave her a positive reinforcement for me it's good girl you know that because I said all the time good girl good girl to me, it is so much more relevant, then you're doing a good job or well done to me, a positive sort of information or just giving her that positive you're doing well is so encouraging, but if I keep telling us she's beautiful, it sounds fake to may, I don't like that. So to me, I'm trying to direct here with me, tinker all right, so here it is, their hands up behind our head we want to make sure we've got space. This is a really great way to post straight on hold your elbows, ladies, and what we're going to do with holding our elbows straight away everybody's going to do this and we're going to look like inmates and we hold our elbows and so what we do to look summers, we push our booty to the side and then we push our booty back and what happens is the elbows and now directly under my chin, where is from the front my elbows out here, okay? And straightaway it looks weird standing, but through the camera, her booty just cut straight down and all of a sudden it frees up her boobs and shoulders a case instead of being all blocked up here, we're now long and ford long and ford push your chin forward now when you've got big boobs boots are soft and malleable and when you've got big boobs a really great way to slim women down from the front is to simply squeeze him in because it actually works really well and then you just tip forward and then you can move your elbows this way or that way to get shaping the body but this is a a go to pose for me and I just feel like did you see how often in the fashion posing that rachel did this post with lower and then look at their hands? Do they look better here? Are the hand's been attacked in? Are they more flattering if I squeeze my elbows together or if I leave space around my body? Okay, squeeze them to give up or leave space have a look at my model on the on the slideshow she's actually giving me space because she's lean and I wanted to look like she's got some angles in her body and so I've got here off to the side like this opening her up does that work for andrea opened at one side? No makes you look whiter because she doesn't have that space there, so I'm going to keep her boobs in and keep your elbows together because it makes her look smaller and that it's fantastic because as soon as I bring it elbows out, the space is full and she's just kind of look why don't I want her to look absolutely gorgeous with a hip popped out that way nice push forward because when she pushes forward she can bring that tim for it I can do her gorgeous here and take the shot that kindly on her facebook page not something I would do with pregnant women because again it defeats the purpose and this I was taking a shot of here who hands is sitting on her belly doesn't make sense she's got to go back teo maternity one oh one the good thing about maternity when I want is they only really buy it small album or three shots anyway so they just want the beautiful bump shot they want the hand shot they want the sitting shot and maybe a lying down shot there's only four key poses anyway so it's not like a big difference was made in camp all right changing my composition changes everything three shots let's go back through them pull back, go forward move left or right you're taking three shots. All they have to do is keep them in this pose and change their expression so girls pushed back side squeeze and your boobs looking at everybody looking straight in here I want everybody to push the chin forward and give gorgeous little smiley eyes tiny little smirk everybody get this is my shot move back everybody give me a little bit more it's mac beautiful ladies working that body keeping that chin ford push that right shoulder down give me some hits more smile more smile beautiful big smile let it go show me what you got wait alright and then all we do is tino camera horizontal because now we have an entirely different shot let's put more necklaces on here let's change the scaffold around him nick let's make this look like a fashion style beauty shot and what do we do here we're cutting this off here at the nipple line a case of the bottom line of your composition is right on the nipple line here cy crop it in camera because I want to get the angles in the camera and the angle I'm getting here is the curvy you are the more they have to lean forward and the more they have to pin their elbows back now if you have a lean body if you have a lean body like the girl in my posing manual here okay you got to be really careful if you try and do this with a lean body it looks really wrong if you try and pin the elbows back for status mostly in bodies company albums back because their torsos elaine so the hands aren't going behind anyway they just look like they're doing this weird thing and if you tip them forward they get this really big lollypop here okay? But foreign unordinary sized body, a short body, a normal size body or a curvy body. As soon as you took the elbows back, we look slimmer. Okay, so it's a simple one o one when you fled onto the camera and your arms by your side that tell why'd you become. And when this beauty shot, all we want to do is bring the gills hands here. So, here's what I say, girls, I want you to touch your thighs, okay? Everyone in the audience practices do it while I'm saying it. Feel it, feel it on your body so that you know what I'm saying touch your thighs skills and then slide up with your hands and then elbows back now from my standing angle look, it's ridiculous, but from my nipple line up my arms attacks right back like this and I look smaller. Try it with your iphone. It will freak you out. Okay, just try it with your I find look att the perspective because I find that a little bit of a wide angle on it. Put a wide angle on there like a thirty five mil and you significantly slimmed down bodies. Okay, but we do not do this for lean bodies that looks wrong and weird, we only do it for curves short. Kids when we want to just create the space so the booty goes back ever so slightly make sure the feed it comfortable and stable touch your thighs lady slide up elbows back pushing your chin forward beautiful okay and this is really important so if they have a problem clearing their waist so look a care face cathy's tall kitty's an hourglass she's got boobs a small waist and hips okay I'm not an hourglass I'm wearing a skit that is trying to give me hips the illusion I'm wearing a dress that's trying to give the illusion that I have a waist not let's face it I'm like it's not that I don't have hips I just have too much waste yeah so so she so when I pull my elbows back mind clear my waist and give me a waste right? But his don't look at this you can see here kind of going like this because her waist is so small it's like wait, this is what we're trying to achieve. This is the ultimate body type we trying to achieve anyway, it doesn't matter how big it is that we're trying to make the boob the way small in the hits out so all she has to do is touched here and look at that and then she gets that and so it's like this it's this movement here just think donna donna the way we think of it you're trying to do is this movement here it's the swim right so that they're so I'm trying to move my body and get my elbow there because as soon as I do I look like I have a way so if they do have a way she just goes lower and maybe around a little bit more but on a key everybody on all of us you wouldn't go around the back because we look like this and it makes us look wider and that doesn't work okay so ford for kids with elbow back if they have a tiny waist around the back follow around and just remember this and practices practice this move all the time practices when you have a photograph taken when you go like this and you just put one hand up and tuck around like have this done push your body back a little bit you every time you get a beautiful shot taken they want and if you look hard you're so sexy yes sir lucky no I just know okay from here we take our little beauty shots this is one of my favorite moves and I saw right to do it today I've done the shot with katie and that if we keep our hands exactly where they are girls and we simply old tune this way okay nobody looks good on the side angle nobody okay until we tip our shoulder forward now nobody looks good on this anger either until we tip forward okay and then it doesn't make sense but when you see the shot you can see that it makes sense now the one thing we don't want to do is that the elbow come out there it is and I simply do this everybody stay there but I want you to straighten up kathy kathy what I want to do with you straighten up and look this way is touch back that to go as I want you to ten that's it that doesn't look good if you took that portrait you know it wouldn't work but you watch this kathy I want you to show me the becky you shoulder okay, now cathy does the one thing everybody does she tipped her head back okay like that now I want you to remember this tilt tilt tilt kathy I want you to tell this way show me the becky your shoulder now bring your chin down that's a girl now look at may and then I crop right there. I slim her down. I get body language she's in an awkward position. All of these poses awkward but they're designed to lengthen slim and commit okay so I had to talk them through this because how do I explain to all of my clients that this works now short means this the shorter your clients are the list room they haven't there nick okay, so the goal here with danielle is to drop her front shoulder right? I khun slim hear more but I can slim denny elmore and andrea moore because she's got length she could do this by bringing her shoulder back and dropping it down the front and so I don't really do this pose here with kids because I'm trying to open up the shoulder so whenever I've got curvy girls I'm always like girls us three we're going to open up her shoulder and drop it down and ford and when we drop out down and forward we get more space here when we get more space here we look slimmer and longer okay any questions? We have questions in the audience yes please government quickly we'll check with the folks at home well, you do that wonderfully the directing and everything what happened when a client is just not getting it not getting it in you're directing, directing, directing do you have a limited time that you do work on a posted? You just carry on moving or they always get it because you're telling him what you were looking at like that sometimes I get really short tempered when I'm posing, they get hungry or I've been shooting for three hours and I just I'm a little bit I get really I get a bit crabby and I find my voice kits krehbiel I'm least patient that's when I find people get upset that they're not getting something like if I keep repeating push your chin ford andrea and you push your chin forward put your chin ford andrea I see them getting frustrated and I'll say you're doing really good just keep pushing it forward I know it feels weird but it looks fantastic trust me and I try and soften my voice and get it done but really I'm thinking for god's sake put your ten boys when I tell you to put your ten forward hold it there are you stupid push you ten for oh you know I'm never gonna get mine if you can push your board it's frustrating and you do have to take people through it but you'll be there to guide them and give them confidence and be assertive if you're calm and assertive then they will be coming to sort of let them lit you've gotta let them trust you so that you can guide them and you just gotta walk up to them and hold that space and saying you're doing really good just give me one more this way push it and ford good girl and I find that most new photographers are just so nervous when they teaching posing they stopped talking they're looking at the back of the camera so they're going tick tick tick tick tick, tick, tick, tick tick, tick, tick, tick, tick, tick, tick, tick and all you're looking at it that I get it do they get it? Meanwhile this one's just completely lost the space because you stopped holding it the one think I could teach you as a newbie photographer is hedda hold people space even when you don't know what you're doing you're trying poses without working just keep moving through the next pose like if you try this pose and it doesn't work and you forget about the shoulder just keep going like it worked like don't sit there trying to flog it it didn't work for her body it didn't work for her flexibility move on that's why I want you to be strong and then lots of flow posing ok gilles, I want you to go behind your box and I want you you continue boxes with wife and I want you to kneel down if it's okay if you're uncomfortable you can kneel on the bucks on the small box and they put your elbows on the box so this is how I do a beauty shot. So larry did the beauty shop with rachel standing with the reflector underneath here and border hands up like this I can't do that with an everyday client because a they can't float their hands they need something to lean on and makes the protein bidder this is not for you, you can sit and relax okay so what I need to do with these girls is ur up really high on there but I know leaning on concrete is not good so this is just a demo is I want you to put your elbows down onto the box okay so two things happen here one of them is when you've got boobs I call this crowding the plate okay that's when your boobs fill up the space all right so what I do is I get you to pull your boobs back that's it so she pulls your boobs back but it chin forward and then straight away all the space pops up around her body now I never have their hands front onto the camera because it doesn't work so the first thing I do is make triangles around the body is to put the elbows out so their hands now notice all the girls now have got their booty away from the camera there leaning forward their chins long they've got space here hello hello that's what makes it look so good and then we're all going to slide right hand out wider than now lift because we want asymmetry now shot we want to create triangles in our shots when we create triangles and asymmetry they look interesting and it always looks good and then what we do is we can bring one elbow absolute put our lift elbow up and they'll hand up and just talk it up under out chin and they threw out beauty shots they've got a reason to have their hands up on the face because they're leaning on something we can create slim nous and space around the body I can also get them all to kick the boudia and wonder ritual it will push out bum out that way and then I've got a symmetry I've got shape and I've got these beauty shots here and I could do whatever I want with the hands now the more curvy your client is the least options you have with hands the leaner and longer they are, the more they can bring the hands up around the plate so you need to look at the different options for posing here I very really do do anything symmetrical on my posing but imagine I put the elbows together both of them and cut the bottom of the faith never put the hand on the cheek when we put the hand on the cheek what happens everybody put their hand on the cheek we lean on it we get a double chin we get a short nick everybody lift up out of the hand nice and tall and tip your chin down until it's almost touching the heel of your palm okay, I see this over and over again this is another classic mistake everybody makes is when we put their hand on the cheek and lean on it one do that okay no and then put it higher and cupped over your ear okay hello centre is that you center I've beena good girl all right I call this pot's talking on the phone okay we do not put her hand I rare here now I want you to look at the next time you have body language is talking to somebody at a table what are they hands doing? Because that's the hands clamped over the ear they don't want to hear you talk anymore that body language is I've stopped listening tio okay if the yawning that stop leaning if their hands over the ear they don't want to hear it anymore that body language is really negative it's board and if it's on the chin there border but on the they don't want to hear you so I want you to make a cup he'll palm that is the hell palm of your hand make a cup make a long nick nice and tall everybody sitting up nice and tall and the hand thinkit's gobet towards there but it doesn't touch lift up two or three good girl everyone grows about teen inches right and then that hand goes here the hell prom and the elbow comes towards the center when the elbows going towards the centre we look smaller when we've got triangles here we look smaller when their elbows are in there we look smaller that tat works okay girls I want you all to put your hands down I want you to put your hands this way like both hands that weight that way that's it I want you to kick your booty out this way better and I want you to lean up long over your shoulders in ten forward and down towards the camera I can't look how long everybody grew look how much space they got around them and yet I constantly see photographers photographing this shot let's all okay, danny, I just need your elbows that way a little bit more darling good girl and from the flat hand andrea for you no hands to the back of the camera okay, we're going to go flat hands this is really important. We want belly hands we want this hand to be stuffed like that we weren't shaping the risk. We're going to make people move their wrists okay, make them too soft hence make the hand go into the inside of the arm look for club hands looks a symmetry it looks wrong. It doesn't look like body language and it makes a big difference. Okay, now from here everybody go back into the relax nick where their knickers down like this and they look short what happens the shoulders come up because as soon as the shoulder's come out, we're all sitting, we will got short migs and we all look dumb here than we are because all of a sudden we're in our comfortable position and then I see photographers shit this nice and low and I can see up and I'm like, no, okay, now watch this, everybody in the audience and in these girls here, sit up nice and tall go up and over you're out, boz long tend towards me and down beautiful time, little small in the eyes. So that actually brings up a great question that adrian far had in england relating to the question of height of the photographer as you're posing people, do you recommend that people posed differently? If they are really tall shooting down versus really short shooting up? I find the biggest mistake most people make wrath or adrian, is that they are shooting too high. The biggest problem is when you shoot high, you make your client look, sinner and everyone's trying to do that for the non model client, but the problem is, is when you're shooting high, you're shooting down onto client, I would rather tip them bored and you come down so where everybody would shoot their client like this, I can then see andrea is bam and leagues I would rather be down here and get her to lift up and come towards may that's where I want her so I'm getting the angle it's all about the angle I want you on your next shoot to just tilt your camera and go down here come up and tilt down here I want you to practice that movement because you'll be shocked at the perspective you're getting when you come down lower every single time I'm training a photographer that's dating mix to me shooting and I'm pulling them down like I'm pulling them down I am pulling them down okay kathy come in I want even pretty and you've got a camera shooting russ and kenna come stand beside me okay? You're my photographer you shooting rats in kenya I'm teaching you I'm teaching you to pose I'm spending most of my time like this okay? But you can't shoot like that she's five for the liver and she can't maintain this stand up lean forward okay, but she could do that, okay? And then you gotta look at it. Why don't all photographers have killer shoulders trips? You always want to mass add unique blocks up because you always like this or lower back because you're always holding the camera you like this this is where I want you to be so you lend strong core it's a size for your career strong co plant people playing I want you to use your league I got these guys for a reason okay, I can squat aiken I can shoot like this I'm strong I can use my body I do try t I know what I can do it I can hold that squad for a long time I could go lower and lower and lower and lower and move my body but yet I am always trying to push photographers down so I'm really trying to do two things push you down and get your client to come up and over so I'm always trying to go booty back without leaning forward okay, so the perspective shift so dramatically and all of a sudden everything on the bottom half goes back everything on the top half comes ford your client looks amazing she buys his photographs because she looks heart and she looks fashion so when the lower I shoot the more fashion the image looks and the more I pushed her back the harder she looks winning combination right? I've got lot and I'm not going fast enough. Okay, girls, everybody sit up and I want you to sit this side and I'm gonna maternity constrained for the song because I wouldn't sit maternity for the fun everybody sit this way okay? And this is opposed that it's a go to pose for me it's a sitting pose it's a fashion quarterly pose I love it it works really well and it works really well on long skinny bodies all right like all poses this is one of the most challenging one and the reasons that works with a long lean body it's because sooner and the girl she need your footstool underneath your foot except opportunity the reason this looks so good is because I'm filling the frame so from the side on I'm filling this whole shot so your front foot is flat on the ground your back foot is up and the reason your back foot is higher because its scissoring your legs which fills the frame and then when you lean forward with your elbow your toe must be right up on the highest point the higher the box the better it is alright this hand here goes back now here we go we've got long body hourglass straight away she's got a big diamond triangle here because she's got this looks perfect she's got long legs and long arms is a big space between her boot's in arms short buddy straightaway triangle is smaller all right and no space here all right now we're going to try and make this space bigger doesn't work the caviar in shorter you are this doesn't work this is what it's just a real model post I'm going to give me some options and a soon as I get andrea here she looks uncomfortable and so I wouldn't put here in this position so as soon as I get kids I stopped you khun stop that you can stop them okay and straight away the first thing I'm going to do and stand both of these girls up because I can make them both look taller and longer if they're leaning on the wall war poses air coming okay they're just simply pose is that do not work for short bodies for kirby bodies and they look stupid so why would you do it like don't try to make a body to oppose make the shot with the body that looks hot for her boobs in her waist and the neck line she's wearing and the sparkles and they hear blowing that's what she wants it's what she wants she doesn't want you to try and make her look like this pose you know what I mean? This is a good one for cape because kate's biggest complaint about her photos is here ten so kate's got a toe right up kate and then elbow there kate's got good space she's now a glass she could do this she's got good space here but see as soon as we turn kate who chin doubles up so gotta push her tenth ford and then we got a week his shoulder ford and down it can push your chin around this way okay for opportunity and this pose here this is simple you can marry me I want you to bring this toe up I want you to bring this hand on the bottom classic demi moore your albergo spec channel the way around and then from here what you can do is just amuse your buddy push a be back good girl and channel the way around now work your shoulder bring night look at me we could shoulder this way now not up forward okay, now chin all the way around actually beautiful engage from the front looks good with draping fabric a gown so what actually did was interesting everybody does this sc did the shoulder movement I said shoulder forward and she went like that. Okay let's look at the body language of that. So when the girls are sitting in this position I want them to be engaged in the shoulder meaning pushing your shoulder forward is this movement here and the reason we do that is this I've done this many times but it works is from the front if I turn and look at you this way it has a significantly different body language than if I turn and look at you this way okay, but not this way can you see the difference? What is the difference? The difference is body language this looks frightened in wrong short nick and this looks connected and so if they could be they have to drop lower and then bring the chin down to meet it. So what I do is shorter nicks in short of bodies and coup via bodies is instead of bringing this forward because it's kind of short on her down I'm gonna drop this down on the front and then drop her chin down now that's going to work really good for these to assume is there on the wall because then I can slide them down the wall, get the hourglass, get them to predict with the shoulder chin ford and then I've got to remind kate to just keep pushing that chen for because she'll just keep talking at backhand and I'm gonna make sure I get her re see it I pull back I do a couple of different options here let's do it with kathy, kathy can bring her hand up look how long she is! Look how long he'll enter she's not even closing up the space you know and it's just perfect. That means the length of the body is so amazing to photograph keenan's fight for the living whose sisters were all five fourteen five year five teen a little bit under you you seem like a foot toward the same I photographed kiner and who told sisters and who told mom and the length of the body is remarkable I didn't realize that until I actually recently not recently in probably about four years ago. Photographed a girl that was six foot one, and when she walked in, she was really curvy. So she filled up a door. She was a big, tall girl, and I was like, oh, and she photographed like a supermodel just because no matter where attended the length of her limbs gave his space and I was I realized we arm or limited by shortness. I know it sucks, but you're way out by kids. I mean, kids limit you to how many poses you can do, but nothing limiting more than should the short nick short arms, because it closes down the body language very significantly. Okay, we can change the hands around a little wee bit. But what makes the difference between this shock here and this shot here is the shoulder connection. Soon as you open the shoulder up and bring it here as soon as you bring it tin, long and down, as soon as you bring that shoulder around. Totally different body language. And you could just see it in the subtle movement here, the mohr that that shoulder is engaged, the more she is engaged. So now, next time you're posing a client no matter what they're doing. Girls, look forward. Push your chin forward. I want you all to push your shoulders forward. I want you to connect your chin down to your shoulders. If you drop the shoulder down a little bit, bring your chin down. Can you see the difference in the body language that you're getting by me bringing that shoulder forward? All right from here, ladies, or you do from this position is you take your little seat and your little stool in the front there and you push it into the front certain infront of you maternity, you can sit down a swell ashley and you simply too in front on you keep one knee up exactly how your head it and the reason we keep one me up is so you can't see up else good. Okay, if we have both knees up, it makes us look shorter. If we have one me up al nikkan steger and then we don't see crap. Sure any triangle of scare to or you don't see up that block and it's also longer. Okay, so again, what I'm not going to do with short or curves is lean them forward because it doesn't make sense. These two to make them look longer and lena I'm just going to sit them up nice and tall get you to put your hands by your sides elbows back okay? And I'm going to shoot the cover girl nice and close with the here blowing you know, and I'm going to make it like remember, andrea is beautiful shoot and we put that gorgeous lay stress on weekends sideway she's open elbows back on dh long legs you're gonna lean forward onto your elbow and what we're not going to do is lean our boobs onto our legs were going to pull back through the boobs and lengthen the body pushed the arms forward, pull the shoulders bag pushed the chin forward, make that space and then we're going to drive on all about posing our elbows towards the center of the waist stand up for one minute take this I'm gonna dude that's the reason we do this let's see me fall off the reason we do that is when our elbows air here they're covering my waist so they're not showing it when they're here they're tapering my waist down okay? So from a seated position I've gone from being out here to hear and I'm trying to drive the elbows down the center of the waist you would never do that with a man a k a man's body is not designed to be triangular like that he's designed to be out like this. Okay, he could be out like this, but girls don't hear. This is a farmer, joe. You know, we don't want the girls posing here. We want the guys out here. We want the girls. And so if you can imagine the elbows back this way tape of the waste their elbows, ford this way. Tape of the waist. When the hands come up, we keep the elbows towards the center of the body so that we have shoulders, waist, hips. And then we get that perfect hourglass every single time. Even when they're sitting and everybody's leagues look short and list the toes appointed now, a really significant shift. Imposing a body. And when you have somebody sitting here is if this box is bigger, who needs up to here? And if her knee is covering her boobs it's not showing her the hourglass. So we simply push the box forward because that drops the knee down. And when we drop the knee down, we see more body. Okay, try it. It will absolutely blow you away. And then if you look at this manual, I want you girls to come into this position. Except for you two can stay in your elbows or side on I would go here and jewelry I want you to lean forward onto your knee create some space for your boob spectra I hear again the only reason I would just sitting with opportunities if she was sitting with your back against the wall holding her belly with a slight tilt in his shoulder and then move through these am poses so you can bring one hand up around the throat you're touching the throat but not the face it's not about leaning on this hand keeping the knees pushed in. So bring your hand up cage. Yes, I would actually do that with you. I just wouldn't do it leaning forward so that's exactly right? Okay. And then that works out and then that hand go through using the need driving the need for it. This is something that I do a lot with people jump up kitty it's something I feel like changes the body language I call it smoking a cigarette because to me that's what it reminds me off it's when their hand is just floating out like this and it just has a little bit more body language than being like this you know, or on the body like this to me it's like, just drop your hand back there so if you do it with your rest just that you're rest relax, it's kind of how we used to smoke a cigarette when it was called a smoke and they take the smoking shot you know, it was kind of like and now we kind of just do it there's two ways of doing it I get them to touch the here and then relax theorist out like this I get them to just relax your wrist out and I could get them to move towards it. So as I'm directing them and holding that space, I'll be like, relax this here put this here I want you to drop this hand out like this and I want you to move with it and give me a beautiful big glass and they inevitably guy that and it looks really beautiful and it's like somebody's a model would do that. So I saw rachel do that when rachel put her hand up and she was here and she does leave that float, she did that naturally, but I've never seen a real client do that ever because why would you do that? And rachel also did this and I've never seen a real client do that, and I also rachel did this and she crossed her arm over the back of her booty like this, so she had that shape and I've never seen a real client to that katie even did it like that you know, and she's long and lane katie even hit her hands here. Never wants to katie crossover. So just like the front one is this one. This movement here, the sideways twisters? This okay is using your hands around your hips and body to create space. I want you to show your client had a move like this. Stand up, girls. I want you all of you to just sort of slightly city your legs and opportunity. You could just stay on your belly. Ok? And as you turn, I want you to go at this and turn the circle of your belly like this. And, gilles, I want you to just to work these hands around your body like this. So all I'm moving, I'm keeping my booty my touch. You stay there and all. I'm doing this, moving my hands around my body later and leaving my shoulders. I don't see photographers even doing this site. Move your body this way and to see what looks good and have a look. And all you're doing is looking at what looks good for them. Okay, relax. Your arms. Stop. And kathy looks good there. You know what a main, so have a look what looks good and if it doesn't look good stop doing it and move on. Just have a look for the space that they're creating asked them to push the hip out. Move your body this way. Move you, buddy. This way. Twisting, twisting, rotating around and then just trying to see what looks good in the camera. But instead we do one static pose and we shoot the hell out of it. Then we have sixty off them and they haven't done anything. And then you finish and you go oh, no, I feel like the biggest thing with posing it's pre prepare, draw the picture, you know, get the posing cards, practicing your mind, draw the picture out. So to stick figure I show my clients pictures opposes that we're gonna do this, we're gonna do a triangle. We're going to do a sitting fashion cordially when you're lying down pose I tell them what we're going to do, they love it, they look at the pictures and they're like, okay, all this spot no, I could be that they can see that met down in front of them. Then you don't finish the shoot and go why didn't I do that? So as you know, nicky works with may I critique nicky shoots ill fated nicky, when you do that, you'll go, yeah and she knows she critiqued your own shoot she's like I know I just forgot to do the rotation. I don't know why I just got in my mind then I was looking at the shoot afterwards, eh, who's going to say when you showed the rotation? I don't know why I didn't shoot the rotation, and now I'm killing myself where they did it to the right and that we laugh about it and they go because when you're under the streets or photographing someone holding the face, talking to them, thinking about your posing, doing your lighting, your camera, you're hungry. You've been shooting for two and a half hours. The last thing you do is to do the bloody rotation, but, you know, it's going to sell, so draw the picture and work through your map, and then you learn and you learn and you, lynn and I don't forget poses because I've been doing them for twenty five years, so I know what to do, but if you knew it, you need to practice and practice and practice.

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 !!