Modern Women's Portraiture

Lesson 30 of 37

Posing Multiple Body Types Part 3

 

Modern Women's Portraiture

Lesson 30 of 37

Posing Multiple Body Types Part 3

 

Lesson Info

Posing Multiple Body Types Part 3

Do you have any special tricks for when I'm in front of clients? I forget I don't wantto have notes there because I don't want to lose their trust okay? So hate about and I pretend that I have them for them but really there for me doing what you've done is your protein that you've designed this shoot ok, I've designed your shoot I love the black while you were having you here make it down the black gown I've decided to do maybe a volume girish are like this you do a little stick figure with a dress going out even people who can't draw for crap they love it because it's a visual guide and then you go we're gonna do this we're going to the shoulder forward I do this really beautiful rotation thing with you and you write rotation black background the flat silhouette light you're reminding yourself and you go I'm going to do this quite you explain it to them you break it down, you show them what the india and they said they're going to the I've never hit anybody got all really we're gonna ...

do that thank you guy everybody's like oh my gosh that's so exciting really just fell away and I'm gonna look like this and I'm gonna spin around it's good to be out christian down there so when you're doing the um the poses that the shoulders really prominent what what preference do you have her women with longer hair front back and how does that change the body shape it all social front yeah here in front of shoulder behind the shoulder kind of my makeup artist to sit me here so they hear really should always be ford to some degree you know like either on by side or or one side and then if I'm going to pose I don't put the shoulder I put this shoulder up because they hear cascades down I differently move with the here but then the here most with the tilt of the heated so if my head tilts this way but my here's on this side that doesn't work so either have to swap the side of my here which women day all the time and changed my shoulder so my shoulders always going to be dominant so I'm always looking at it like this it's always leading shoulder leading shoulder leading shoulder leading children to shoulder that closer to the camera so my leading shoulders always where my chin goes you don't take your chin back to your back shoulder you don't take you here to your friend so I wouldn't be like this okay I would be like that because I'm leading I'm leading on dropping forward my here down this way always leading shoulder using in his body language trying to keep it open nice chin long nick all right for these nicks poses thes all work for curves they all work for anybody type all you have to do is get the space away from the body so let's have a look at this if we tend our boxes forty five degrees that way girls and we put a little city bucks is here if you run out of space and opportunity you can just pull back and sit to the side because I don't need you in the front that net you could just sit down so good you've got a little bit more space to stretch out if I take her away so just bring this here all I do is sit the girls down now whether they are on a couch or opposing box or it doesn't matter where they are when I'm trying to do is create angles and space so we pull the box away and then they lean here onto the box so I can shoot it on the arm of the couch like the posing manual and the more upright they are and the more that this armas ford injury you can say and I won't even mean more upright they are the more straightly body looks the further I can get this box away the more they can recline once they recline the leading shoulder comes forward this hand touches the thigh it's like up the elbow goes back it shapes the body I get a triangle in the front which slims down I get and I'm an elbow night l glass around here and then I can work the chin and the shoulder from the front. Now the curvy and my clients are the more space that I need to create because I want to create a space here, but I want to not block this up because everyone will do that. I want to push your hand down because then they get a triangle here and they get this open space. This hands can't beg, but I don't want to pull it back too fast and what I do for injuries bring her chin around and then lift his chin up and I can shoot down on her just a little bit. I could do this pose on the wall standing my short of clients she's not going to be able to go on a box is high because this is the same height is here elbow, shoulder, it's straight out like this. I'm not creating a triangle here, am I? So I've got two choices. I push it away from here and I just get attached there and then I bring this hand down so that she's got more of a triangle here shooter on a higher angle, engage her chin back this way and I shoot down that way, this arm here or I get a short of box okay, so the more the more I take away from here so what I want you to do is get them into a position and practice look at that I take the shorter box and now she's gone from being up here like little short two down here long forty five degrees angle this way chin ranch and up looking gorgeous and then I've got length kathy is my long linc she's already got a perfect triangle I just have to bring the hand back to the body they don't want their hand closer to the camera I want that back to there and I can recline here and then I can move these shoulders I can move the chin kate chin pointed down because we all know kate already talked to tenants and she's not going to buy that shot and another thing is kate got an hourglass but she's done the one thing that an l go I shouldn't do she's blocked up who waist with her arm so we're going to slide here I am back tuck it there can push your chin forward and then she's got that beautiful boob waist hip ratio okay and then from here, if you watch the posing I can go closer, I can come around and this is probably something I wouldn't let's try it I want to get both of you all of you girls two ten and put both elbows on the box so you do have to bring your knees around a little bit that to go I won't do this with andrea you can stay back because you can stay because I just want you know with andrea I would rather have that beautiful shape on her breast line then squeeze that in and not get that ok to me she will prefer and so will her husband that beautiful line there okay that is more important shoulders back nice arms long chin sitting up nice and tall and we all grow six inches because we have bad posture okay and that's where it is and I ten now in order to make that look riel cathy you need to bring your knees around more because you're too disjointed if people look uncomfortable that's not good body language and it doesn't work chin forward into your front shoulder kate and down to your left good girl okay then we could bring our left hand and couple face and the reason we bring lf not you stay there andrea you don't you just going to do big smiles okay we kept our face nice long body and what we do girls let their hand float out just a little bit like smoking a cigarette too little float out and beautiful big smile laugh ha ha ha ah a little bit of a tilt on the hit towards your hands, huh? Oh felix you're so funny way and that's how we flipped yeah so that's exactly right so when we flirt when we float with the camera make love to the camera we'll float when we flirt we touch what the parts of their body we want people to look at we play without here little hands come up we'll use our body out our lips swell our cheeks go pinker it's just biology okay and we fluttering eyelashes we touch and play with our here we preen ourselves so remember my golden rules we need a touch our brace we never touch her belly and least we're pregnant we need to touch your breasts when we flew because there's no body language including that is touching breasts and there's no body language inflating and touching the body and we look at why when she touches her belly she's pregnant she's a belly rubber okay she's you're looking at her belly if I'm flirting with somebody and I'm touching my belly it doesn't really work on come over here it doesn't really it's like hey how you doing all right wait don't touch your boobs because there's no reason you would touch your boobs if you do the skin shot were you want no brown but you don't want to hide you gotta hide the boobs you can hug your body okay you can hug your arms you can put your arms around you your partner can hug you but they don't hold a boob in each hand even ever hold above any ten you're not a human brad doesn't make sense makes you look at the boots whenever like oh this is my foolish it here or this is but my personal favorite the bra because there is no body language ever where you would be flirting with someone and touching your boobs oh felix you're so funny no belly no boobs so what do we touch everything that's not on our belly your boobs so we've got this like little range here between your belly and our boobs, which is fabulous because it's like I'm going to touch here and you're going to look at my boat like this because I'm not like a love you when I'm going like this but I'm never once going to go look at no okay, so if you think about it you can touch all down the sides here because that makes sense to touch down the sides so I ca n't touch here I can touch here I can touch here and if I'm touching it's even better right there going because when I'm touching I've got belly hands and I'm still not doing anything that is not right we never touched her but there is no what no reason we would even touch album we're flirting with someone so why would you do this pose on anybody other than okay think about it. What is fluting fleeting is touching around the here the halo that's a halo around here okay it's the throat but we don't close this road because it's not like hey, felix how you doing? Okay, but I might be on the outside like hey, felix how's it going? You know, say, think about it you need to touch, you need to look at body language, you need to look at what it saying and then you need to look at house dedicate is and then you need to just talk to people and say touch here touch here touch here touch here touch here touch here you don't have to be getting them all billowed in the studio going like now touch of this now get into like it's, not a dance, you know, like I make it into a dance because I kind of joke about it when I'm teaching posting but the truth is is I'll just be like hippie reelection hands soft hand albert beck touched the bottom of your brass stir with the shoulder for me long chain ford connect beautiful there it is, it's just a little workout, you know they complain about it, they get cramped everything that you're going to thank me tomorrow you'll have sore muscles and beautiful photographs both of them were good for you all right I particularly want conversation around kids because I really feel like this is a pretty standard post for may it to go to pose it is a city post that self every single time and my studio is going to go back through lying down your tummy works for who the girls works for short girls the rial the thing that really works for me in the chin is let's take your boxes out and just lie you down on the ground can you get a good shot of kate on the ground and just push that kate it's perfect I'm sorry you have to lie on the ground on your tummy to strike down forty five degrees away from your photographer said this my honey like this way that to go we always like forty five from the photographer okay kate needs two things lengthen who nick so here nick needs to go up nice and tall chin goes to the leading shoulder leading shoulders towards the camera okay and it's nice and long and then she popped her chin forward and down so she's got beautiful chin definition here left hand goes flat to the ground now keep it over there fred two grand and here right hand crosses it little cat okay we have little kit swap your hands over kate we don't put her hands towards the camera and put a hand away from the camera okay, so other way swap left a good girl and then we've got little cat. She gets this beautiful shape here and then if we want to fix it up, if we want to make it young and funky, we cross the ankles and we bring the feet out and she kicks a bomb and does a big smile. Ha ha ha! I'm fourteen, I'm so cute, and if she wants to do this and lingerie or a sixty gown, she rolls her hip hop, brings in need forward and then lie down again on your elbows. And then she's got boots a and then she said me now. All right, so we work through those poses by using the body language of making them young and faneuil, sixty and lana, you know, that little hip up in the knee up, the one thing we do not do and you've got tights on so you can do it is when you see that shoot your knee out there, people did this all the time and then they shoot it from the front and it's like there's a leak coming out of the side of his shoulder, stop doing that, nobody sits like that and she's not like a felix how's it going? I'm just going to dislocate my head, I really want to talk, um about kirby posing because they feel like it's the great it's, the biggest girls you can all relax, but I want to keep you up here so you can sit comfortably. I feel like the curving posing as the biggest questions I get asked this manual is part of the downloads so you can work your way through those poses. I really want to just talk about the limit we have with curves and one of the cool things I put on here for you and I can show you is really what I was saying when andrea was limited with the fashion quarterly pose, I would've put her up on the wall. I repeat all the posers and address using a box instead of a couch. So you just see it's repetitive. Okay, so what's not repetitive. It's, the background color, the lighting style. I've used the output of my client. The expression of my client and every single human being moves differently, has a different look. Has a different vibe that they bring to the shoot. Cute, funky, fun, gorgeous rickles sixty now. So even though I repeat those signature poses, I move around within them, and I always try and create realistic body language and expression because it's finish you make it look real make it look flutie and then connect with the eyes you have sellable portrait every single time and it's just something that's so easy if you just keep practicing do not give up be strong and keep going so there's like a hundred sixty posing slides repeating here and I repeated them because I wanted to show you different looks that you can get with like an evening gown from jeans and blubber butt okay so at the end I did this this is what I just showed you okay so she's lying down she can cross it ankles and bring her feet up she looked younger ok it's list sexualized no need coming out of the side of the shoulder so make sure your angle comes around on the forty five which is their hands go away from the camera this is very, very important and then who ten comes back to a front shoulder which creates body language and it makes you look cute she can put it back arm up and lean forward because that works right and then looked down ha ha ha ha ha ha! Nice big life gorgeous beautiful work you can bring the hands up to touch the face that works perfectly and that you really got teen really gorgeous shots and she's going to buy at least three of them right? All right to the wall when we use the wall, I used the wall for most of my slimming posers I used the wallers may go to start off post because I feel like when you have somebody leaning against a wall, they've actually got something to lean on. They feel very supported, they can drop the front shoulder, put all of their weight on their back foot they can you can give them curves or you can cut down the curves based on how close their hips towards you. So the golden rule is ah long main body. The hips and shoulders are exactly the same distance from the camera. The kirby your clients are, the further back the hips are and then further down the shoulder is so it's no different than doing a box recline you're simply getting the alberta come forward and dropping the shoulder, which creates all this beautiful space here kicks the booty back, shows the hourglass and women love it every single time it looks really great look at the manual I've got this girl on the wall here and I'm going to just take you through it right from the beginning, she leans back on the wall here hits there away from the wall she's long and she's lane, so the only way to give here that sort of waist hip ratio is to kick her had kicked her hip out and then bring it back around to the camera. If she was cuvee, you would be doing the opposite. I can photograph him or front on because she has a leaner body type, but when I engaged that chin, it goes from outside to inside and then as I rotate her hips around, I keep moving her chin back to me and I can do so many different poses by kicking her body back to the wall, then creating that beautiful diamond and try and go on herbeck, teo and she's leaning with your full weight on the wall. So I want you to try all of these it's simply moving around, using your forty five degree angle around your client, moving in and out, doing a closer crop, try and bring the backhand up to touch the duke allah taj, but not the front hand. Everybody blocks up the front arm and remember, we want the leading shoulder and the baccala because when we open up the body language, we wouldn't block up your body with their front town because they're blocking the body and saying, don't look at me, bruce, this one is saying, look at me, okay, so you've got to look at how open the body is to the camera, then holding the elbows works with elaine body, it works with a curvy body a lean body it gives a little bit of movement in model style a curvy body squeezes the boots in and looks really flattering and I love that this is a really neat example I was doing a live shoot I actually recorded this this was my client fled on this is here before shot then she headed here and make up done I hit her on the recline so have a look how she is hips back away from me shoulder forward because I'm slimming her down and then as I take her photograph I rotate here away on the wall so she stays leaning on the wall and I'm saying show me the back of your shoulder sally showed me the back of your shoulder and she keeps turning away mohr and more and more and then the shots I took of here with this and you can see the perspective that I've shot slightly down on here with the thirty five mill the hips are away she looks lane and long and then I slowly rotate her away come closer to her and she's still leaning against the wall looking back at me and as I say show me the back of the shoulder she pushes away here and then I get that gorgeous look back the dresses lacey and then she smiles and she bought every one of those shots so just flow posing slowing down showing that movement using your rotation it's practicing your angles but the most important thing creating space and holding space creating space around the body makes a body longer and lena holding space is that I am talking so consistently throughout my shoot she doesn't have any problem with trusting me that I know what I'm doing and the energy of holding that space changes everything and then you look confident in a suit of and it changes everything about your chutes so I want you to practice that over and over and over and over again because it really will make you a really good portrait photographer all right um yeah let's that so I believe you've changed the world right now if in no other way pixel chick says I am so going to hear how you doing felix in my head when I posed ladies from now on oh boy felix you're going to be a you've got fans around the world love it all right sue thank you so much seriously this was amazing how much it was it was so wonderful to be able to see everyone together posing the differences for different types of people I want to thank cappy, danielle, andrea, kate and ashley you guys were great out there. Thank you so much for participating thiss has just been so great and tio I want to make sure that you have a chance to say thank you to the folks who help you out so we'd love to bring up suze thank you slide and give you a chance to talk about those books yes, I have a big shadow I am issue no don't like to have sponsors because I don't believe in flogging a product you wouldn't use I have people that I just love in an emoto is definitely one of them we have some shoots coming out that felix and I photographed together and it gave me this amazing idea last night and I was lying in bed at five a m this morning thinking why wonder felix wants to do that on dh he basically let hollywood yeah I'm okay really what I meant wass felix lit a shoot for me because you know, I only shooting it rely and the same was hollywood so he let all these hollywood style shoot for me and I photograph them and then he actually photographed me so it was really great and we can't wait to see them we've already let one go with this so many to come and it's just so beautiful and so what I mean by their butt I was I was thinking I wonder felix wants to do more of that so that he can teach lighting and my style of photography not deaf profession will but he can teach how the light my genre which is really, really awesome which is everyday portraiture women glamour but the modern vision of that I love inamoto and they're great people, and I love alien skin. All of my processing is done through alien skin. The reason I found alien skin is coach lower showed it to me, uh, we were working to give it a year and a half ago, two years ago, she said, hindus alien skin I had never heard of it before love it, use it every single day in three any is amazing company. I bought a beautiful liver camera big, and she sent me another one to give away a surprise, and I've got a gorgeous bae to give away amazing handmade leather bags, beautiful quality, amazing camera bag so thank you very much loved those people. There are already people, many, many people saying many beautiful things for all four of you. Diane lundgren photography says this portion has been absolutely amazing because we're able to see all shapes and sizes and how the poses affect each. What a great teaching tool. So, folks, before we go to lunch, we are excited to have a special little presentation here. Our wonderful, wonderful friends at triple scoop music have brought out one of their wonderful artists play us out here now if you don't know about them, triple scoop music is one of the premier music licensing service is that really works well with photographers now if you saw soup rice on day one she did talk about how important it is to have a video of some kind to actually demonstrate who you are and what you mean to your clients one of things that really helps sell that is really good music and triple scoop music they do have an amazing group of artists over fifteen thousand songs that an easy licensing to be able to use them both in your own in videos that you create for your clients so I would encourage you to check out all of their their wonderful music we use them a lot here su uses them lou uses them triple scoop is awesome would you want to say maybe a minute they're just moment about him so especially that beautiful song of the breast cancer song it's not about your scars it's about your heart by mindy clear hill and yeah they've created some incredible music I go to them first it's fantastic so we are very excited tio bring on our artist here jen ai is one of the wonderful artists at triple scoop so if you like what you hear and want to hear mohr will want to check out the other artist go to triple scoop music dot com and check them out but for now jenna take us away thank you so much hi guys thank you thank you I'm so excited that creative live asked me to sing and I'm so honored to be here representing triple scoop music this's unconditionally you touch me then you look in my eyes can you see my eye on condition way condition way smile be a tram boyi eh then you hold my hand wait wait really smooth god can't compare to a glass on your eyes your picture what I've always grist to weigh you are everlasting gift and walking on the scene run with your way kiss me rambo I want never can give you only on condition leading way sudden there the the that number bobby mobile sub aboutthe babble babble babble babble about that yeah ah ah no no brilliant star with a guy dies can't can't pair teo glance on your beautiful so eyes your picture what I've always wished to o me you are have a lasting give ana walking on dh I'm she yeah on a run in with your way oh when where you kiss me ah tramp now one never part can I give you condition of the way yeah yeah yeah yeah yeah yeah I love you I love you unconditionally wait yeah yeah yeah yeah yeah yeah unconditionally thank you so much thank you thank you so much so nice thank you I'm gonna do one more song before you all go to lunch and I just want to again thank creative life so much for asking us and also triple scoop music for being so awesome this is called your rising you may choose go up my spine with your boys corin angel's hunting I need a strong hands and your saved puzo's you are my favorite you lack magnet too much so you seduced me to your total counsel I need your kids and I know it's smooth and true and really you have give to make we feel because rescue me child lynch me you know me you wouldn't let me you awakened me young my jazz a rhapsody u r I c stars and moon behind your eyes yeah bad spirit is my on ly hi gentle speak poetic so you make me happy a flying with you in rain able fields all my pleasure comes from what reveal I know your keys sue then true andrea you have give to make me feel can you rescue me your child land me you charlie me you banish me wakened me your much as arrestee you are I see a u f u b I said you child let me you color me you embellish me you awakened me young my jazz a rap city you are I I see your way eh go home bough sat up up up they have babble babble about that hey damn way you make me see you make me ah you still make me see thank you

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.

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