Photo Week 2015 West Coast Tour

Lesson 4 of 20

Photo Week Bus Tour - Clip 3

 

Photo Week 2015 West Coast Tour

Lesson 4 of 20

Photo Week Bus Tour - Clip 3

 

Lesson Info

Photo Week Bus Tour - Clip 3

Ah, wait hello everyone and welcome to create a viable sacramento this is about a week two thousand tonto we have already been in san francisco this morning we have now made our way to sacramento we had a mini stop along the way everyone we're so grateful for you was coming out and the ability to meet you in person my name is ken klosterman I am your host and I am very excited tio introduce the woman who needs no introduction soup rice now what we're going to do here that's right surprise I'm gonna fix your hair because you've got yeah there we go. All right, so everyone if you are tuning in we are going to do just an hour here in the park in sacramento before we continue our way north we're kicking off photo week two thousand fifteen like I said so the first half hour sue is going tio teach us and I'm just going to go ahead and handed over to you sue bryce thank you. So all right, I've got thirty minutes to teach you as much as I can about chin shoulder hands, hourglass body language ...

asymmetry in connection and we just talked about connection while we're waiting to go live connection to may is the most asked questions so obviously when you first learning to be a photographer you're learning, posing you're learning, lighting your learning your camera you're landing style your looming a genre you're learning so many things and what a lot of you are lacking right from the beginning is that basic connection so that connection when you look in somebody's eyes and you feel that they're connected and open to the camera live tv, everybody they just called in the ambulance because a few people fainted when we got off the bus. All right, so what I just told you about connection you tend in you look at the person beside you and I saw you will do it you know what you did in that moment? I call it the twinkle you should take the place of next year, your twin goals and the truth is, is that twinkle is so beautiful and it's so connected and it's so gorgeous and yet we don't do it. Most human beings walk around life with the hit down, not making any any connection whatsoever. Now I have a lot of twinkle and I like to show people might twinkle and when I'm out in public, I make a lot of eye context. So much so that recently I was in a restaurant and I were black a lot, although today I'm in charcoal, I was at a restaurant and I was walking to the restroom in a black dress and as I got to the sort of concierge area, the front of the restaurant a big group were coming towards me, so I sidestep like this and was waiting right by the concierge. And then this group of twelve people stopped and we're like, we hear for house, even o'clock reservation. I'm in a black day standing next to the concierge table twinkling, like at all of them. And then, of course, I realize my my natural I engagement is I work here, you know? And so I turned, I looked down and these are big pile of menus. This I took twelve million and I said, if I may and I walked into the restaurant and I stated them at the big table with giants, james was for them, and then I said, enjoy your dinner, you're super will be with you shortly that I read to the toilet watch your hands came back told my friends at the table who thought it was hilarious and here. So whenever I met shopping, I can have a handbag and a cell phone, and people will come up to me and say, are you the manager? And the reason they do that is because I make that eye contact, so I take a lot of photographers to opposing is so important lighting is so important, connection is the most important thing I could give you is a gay it and it's the one thing I can really teach you in person will you get to stand in front of me look me in the eye and see me smiling at you with my eyes okay because it's that moment that all of you can have that and I want you as photographers to really master your ability to capture and see connection and people's eyes now if I have somebody who is looking at me in the camera and they look all quid and terrified I simply take my camera away because remember they're not looking at my face there looking at this and I will take my camera down and I will go like this like this okay now people will pretty much do what ever you do it's a mirror so when I was a teenager I was a good teenager I wasn't a bad teenager but because my big sister was a really bad teenager so I was a really good run because I saw what she did what's with the sirens decorator and so what would happen is my mom always used to say to me so if you have a grumpy teenager when I was being a grumpy teenager and getting snapping at my mom my mom always used to say to me look at your face and I would always be like excuse me and she said you take a look take a look at the look on your face and I used to look at my mother and she would save the face you look at there is your own the face you look at mirrors your own right remember that the face you look at mirrors yeah and the next time you're photographing somebody look at them with the face that you want to photograph half make it open make it smiling in the eyes make it connected make it beautiful look at them and hold the gays hold it and see them everybody standing in front of you is terrified and vulnerable and most of them are scared of looking old scared of looking fat scared of having the photograph come out bed and it's a self fulfilling prophecy, isn't it when somebody standing in front of a camera guy I look out I looked at other courageous and then your photo looks old vet and hurried us because you're kind of doing this with thing and the truth is to find people's beauty all you have to do is get them to relax long enough to take a beautiful photograph off them. All right? So we don't miss around I'm very sensitive photographer I'm like this everybody stand up nice and tall beautiful nice push you tend towards may if your lane frame keep your ten forward if you're a boy keep your ten ford if you're a boy, do not put your ten down hi you two do not put your chin down because boys don't need to do this okay you boys could be all like this you could be here mid range push forward but you still got a good strong ten right now if we like boys and hard light they have a good strong ten nice to endure they look good they look masculine we don't want the boys like this okay we want the girls like this okay unless you could be in which case we won the girls like this because we want to create space the more space more slimmer you look so it's set up nice and tall bring your tend towards may if you want to know a tin pan I want youto understand the most universal language you could ever speak his chin forward not your body just your ten and down chin forward this way not your body stand up nice and told chin forward go go now down that's it so hand fled chin ford ok then we work our shoulders we work our shoulders because I work my way down I look at the body I work my way down and then I work it back up again and then I posed from the feet back up ok so straightaway chin and then shoulders now shoulder there an interesting face so when you're posing shoulders sometimes with photographing people anybody language just looks did or you have to do is remember this you have shoulders too wonderful shoulders that move in the most beautiful way imagine that you're drawing a figure eight with your shoulders like this not dissimilar to doing a figure eight with your heads all right, so we use how shallow this and the reason we use our shoulders is we can do so many wonderful things with our shoulders. All right, we use our shoulders and shoulders a gorgeous also use your shoulders to open up to define body lines so we push out chin forward and we use our shoulders. We tip our shoulders down, we use how shows that forty five we were the shoulder we connect the shoulder to the chin, we open it up, but why aren't we taking people to use their shoulders? I need you to practice as photographers what it's like to stand up nice and tall and push your ten forward very good identifies and told pushing ten ford ok, now you showed us for may very good use I shoulders I want you next time you're practicing with somebody and I think one of the most important things about photographing someone is you get somebody in front of you and suddenly you get really stuck and then you're like, oh no what I do and just slow down, slow down and hear my voice ok but not by yelling packed voice here mike here my smooth creative life recording voice and it's going to go like this slow down you're freaking out calm down and listen to my voice take a big breath in as long as I hold her space what your name is dana as long as I hold dana space I'm going to look like a professional ok if I do this you know when the insides going it's not working it's not working but I instead looked like this dana just push it in four towards may a little bit more election mouth could go see I hold the gays now she's hypnotized I want you to just hold your alibis under here beautiful swap the mother my family go it's bring your alibis together a little bit more just give me a little bit of shoulder okay now push that tend towards may election now girl just slow down because I'm looking at here like a sculpture like a campus it's not about banging out a thousand images and chimp ing and looking like you're trying to find what you're doing it's about slowing it down and controlling this space okay I only have to do two things make her feel safe and make her feel comfortable okay one she's safe and comfortable and she's listening to me like that and I take that authority and I do it slowly and then I take one shot not twenty five and I don't look at the back of the camera over and over again I look at here because the connection that I have to hear while I'm photographing here is the most important thing all right set up nice and tall push it in tow make a girl election mouth and just give me some shoulders this way this way another great way to move shoulders is to do this how do people know this? I don't know I never lived like this is how you move someone shoulders nice and torch in towards me chin down I'm going to give to thousands of dollars all right, so and now look at this let's go! I've got my camera up but you know what, it's that easy for may to may I imagine that there's a three day hearing a threat here and I just push it. I would just go push that back, dana also my style is not sweetie darling gorgeous, darling gorgeous work it, sweeting work it gorgeous. My style is dana good work, dana. Good girl. Dana you're beautiful, but you know, but you know what, dana not dennis legs, not dana zahra dana dane is beautiful, all right? And when you genuinely say that to someone that's, what happens because every human behm wants to be seen and wants to be heard so when you ask me how do I get my connection that's how I get my connection now I just make her body look really great thanks. Donating all right, tim shoulder pens when you flip where the guy I'm going to flip with some boys when you flirt with a boy you touch parts of you that you want them to look at all right that's what you do it's got he's got a hot girlfriend but I'm just like what? Ok, you do not touch your breasts never and anybody language do we do this? Wait did not touch al belly that pasta wait don't touch how about how you doing? Ok, so why would you touch your boobs, your belly or your bad in a photograph you wouldn't because you want to create body language now when you do the boyfriend shot and he's around you being the breath and he's got a hold of each boob you know you could go home and take that off your web site right now it's okay, we all did it because he doesn't need to hit a tit in each hand. What he needs to do is embrace you and hold you that his body language amends arms around your arms holding you and if it's a skin shot and you want to hide boobs it's the best way to do it so if we touch with body language and we use body language then it stands to reason we don't touch the brace we don't touch the belly and we don't touch the back three days unless you're pregnant in which case it's all about the ballet all right so we don't touch the three b's we don't need to what do we touch then everything else is fair game so we need you to practice touch sit up nice and told chin ford move those shoulders for may very good now let's look at hands I want you to touch you here I want you to touch down the side of your door but not flat because we don't do this the way way don't do this jai or even then I see this all the time I called this talking on the phone it's like hi just give me a minute I'm a talking to someone on the fine okay the body language for covering the ear is I don't want to hear what you have to say so we don't touch the ear we don't touch the boats don't touch the but don't touch the belly but we can't touch everything down the sides like this these bits okay waken touch up under the dick allah taj to here and we can touch above and out to the shoulders down the legs down the body all of that and we can't touch anything here and that takes practice that takes practice that I want you to go home and touch yourself a lot I want you to teach people you know, have a touch themselves so that you can direct them and do it well okay, now you don't have to be creepy if you're teaching somebody touched or you have to do is say use your belly hands member belly hands touch and slide up elbow back over here slide out touch down the nick touch with your middle finger I don't have to be all sixty to teach somebody this I can get like this put your hand up like this relax your fingers slide down your door line with your middle finger, cup your hand around your throat and stop I don't have to be all like now I want you to chat yourself okay? So people say to me all the time but I'm not sixty I'm not sensual I can't move like you anybody can do this okay chin set up ten forward I mean I showed us show me some touchpoints hands most desired shape on a woman's body is an hourglass it does not matter how kirby she is ok curvy women want to have a waist that goes in skinny woman want to have a booty to go down it's the same shape now they pulled ten thousand men they showed them a thousand images of women and it was a yes I like that no, I don't and all the men like the one where it showed the waste bust waist hips ratio it didn't matter the age of the woman it didn't matter the size of the woman what med id is we looked like women and women have an hourglass now men a triangular they got like this some guy like this but that doesn't matter they still triangles way go like this, so the desire of a very lean body type is to kick that booty out to make a booty and to shoot nice and low and the desire for a curvy body type is to taper end but all we're trying to do is to create that yes ok, so we've got chin shoulder hands hourglass so I look at it like this the hourglass and the hips or come from the feet because when you're like this, if I asked you to create analogue grass what's gonna happen so look at it like this one foot comes and break please do it so I can see you practicing when me comes across and then the booty goes out and we can move our hips and our booty so I decide it makes it a lot easier even in heels from side on we can create booty in shape and for curbs we create booty away from the camera dropping the shoulder and opening it up then we create our glass and beautiful lines and the feminine body and then we can pose mom to look gorgeous post dead in there get the kids to come around take a beautiful portrait who's buying that portrait who's paying friend oh, trust may you make mama look good and everybody else in the family could look like this on their woman will buy that board dress because she is the one always holding the camera. She is the one that nobody looks at she's the last one in the shopping list over demographic she is the last on the list and that woman is the one who is paying you today make her look good, jeff, show her I look at every woman that is given and in my path every woman that is part of my path is an opportunity to show her how valuable she is to show her how important years so that she can one day look at her children and her children can give her can iron the photographs off here. And if you have lost a parent, you will know how hard that feeling is. And if you want to know how valuable portrait our weight, do you lose someone in your family with the first place you're going to look every photograph you have ever taken off them will now become the most valuable thing you live on if you forget your value was a portrait photographer, go and look at that and remind yourself off that ok? Because I don't believe in teaching anything without teaching value what you do is valuable and it's for ever you stop time for people, you create memories and images that are irreplaceable that no money can buy once that person has gone, you do that do it well get paid well feel the value of it and then translate that into what you doing, how you do it, you does it that the people who buy your photographs deserve that and if you forget that come and see me and I'll give you a lecture on it because nothing annoys me more chin, shoulder hands, allah glass body language but the language is pretty self explanatory we do not cover the hat and we do not cover the ears because in body language covering the heart is protecting the south and if you cover your heart it's an interesting body language so I call this the diamond and we don't cross the diamond we don't cover up the diamond, we open it up now when we've got young girls and we wantto age appropriately pose young girls, we don't make young girls dual hourglass and all the sixty touching young girls can hardly needs they can lie on the tummy with their feet up they could be age appropriate without being all open okay, but all other women open up and tipped forward and they don't have to be open in a way that's all suggestive and I just mean open, beautiful and long, nice and long ice connected to the camera body language for may is one of the most interesting aspects ofthe photography and yet it's something a lot of photographers do not study, and when you're looking at a photograph, the first question I ask is do I believe this pose? Do I believe that this looks like a natural pose or does she look really posed with and then trying to like they all candid inside there and it's like that's not working for may? I posed everybody? I don't let anybody post themselves, but I've also been doing it for many, many years now we've got ten shoulder hand our gas body language and that brings me back to connection, okay, the connection that you have with your client comes from your eyes to their eyes. It comes from being seen, but the greatest listen I can actually teach you is to hold a space as a photographer now when I was a twenty year old photographer, I would photograph a lot of older women and older women a maine they would terrify may, they would manipulate me, they would boss me, they would beall assertive and tell me I would go ok, I want you to lie on the floor in this woman looked at me and said, I'm not lying on the floor and I'm like twenty three. I'm like, uh uh, okay, um now I'm like a fly on the floor. Carol drop and give me twenty I realized that the reason older women, I mean, because now I'm an older woman and we our main I found my power, I'm alive, I found my power, I found my power and, you know, as I get older and older, if somebody said to be lie on the floor and I would look at them and some twenty three year old upstart photographer, I'd be like night, I'm not gonna lie on the floor, and I realized that what it wass was backed me and I didn't own myspace. I was just a terrified young photographer that didn't really take control on the space of who I was photographing and we're are photographing. And so what I did with dana when I told dana what to do, I was looking at her as a subject now I'm about to photograph you, so I have the right to hold the space and the space that I talk about holding is exactly that it's a moment where I take full control of you and you trust me enough to do that and you do that because I hold this space I hold my confidence I hold my power my strength liberty taught me that you should teach people that we should teach photographers that you know it's not that moment where you just stop talking don't stop talking from the minute I touched my camera I am talking to my client I am saying her name repeatedly what's your name jessica jessica chin this way showed afford a little way but more good girl jessica well done nice work look at me this way jessica eyes up beautiful bring your chin around to me now jessica nice long chin set up nice and tall good girl push back sit back sit up bring your chin towards may lift up nice and tall push a chin forward down this way good girl stop and when I see it when I see a shot that I want that's what I do I put my camera here I say chin down this way stop just go a little bit more stop good girl don't move okay so I'm in touch you're not in charge of may I'm the expert here I know what I'm doing that's what you need to do so when people say fake it don't fake photography you're already doing it fake confidence just a bit fake control just a little bit fake the idea that I I don't have to say or do anything and I'm going to hold the space so I think about it and I think to myself well, even if internally everything inside me is going oh my god, this is not working even if my fear voice even if the panic inside me is like okay, this is not working this is not working my client is only going to see this dana bring this show to ford stop all right, hold that for a minute. I'm just looking at light what's she going to do and it's like dana wait, they are just going to move this reflector I, uh could go perfect bring your chin around this way a little weak but more oh, I like this. Ok, I'm just going to take a shot inside voice oh my god banging out another thousand frames and then just being like this is not waking this is not working this is not working this is not working, I'm still going I'm going to look at it and I'm going to hear suze voice and so his voice is going to say stop slow down, take charge, take a big breath in what's wrong with this image is it lighting connection or pose maybe it's all of the above break it down go backwards it's the light moving to bid a light it's the pose change hippos but don't just try and do something make it calculated and controlled like this okay dana what they want you to do is put this hand here touch being this elbow ever so slightly good girl push your chin forward stop jin this way now stop! Start moving here, move her chin move her shoulders. Move her hands until you see something moving into you see something beautiful and see something brilliant and then take that but dark freak out and panic and just start banging away images you got this slow down, take charge, but remember the whole time you're slowing down you're taking charge the whole time you are in my eye line, dana you are. And when I hold that confidence is a photographer to this person, all they have to do is hold here in my eye line you're doing good. Excellent. Just having a look at the light. Really? I'm thinking about what I'm gonna do next. Okay, that is all you, me today that control, right? Do we have any questions? Any questions? Yeah wanted you to d'oh full figured person again, I think graham with mine, but could you show me the best way to shoot a full figured her baby what's your name priscilla give me give me your hand bank where is there anything good in there? No just means I'll take the I needed you cannon okay so rule number one rule number one with kids is the fitting what we work on first out chen all right now facing I'm going to do to priscilla is lengthen here now I'm five foot four so you're short so what I want you to do is I want you to ten your shoulders towards the camera this way forty five degrees to the camera yeah good girl okay then what I want you to do is push your ten forward ok so I'm going to get us much extension into her tender as I can now remember the camera is that is focused on it I it's not looking at it from this angle where she's pushing her chin forward ok so too the camera's point of theo or she's doing is extending her chin towards the camera now we extend the tin towards the cameras firas we can and then what we do is we drop this front shoulder okay? Now the more space I create between here in here more I'm going to drop her open her up and slim it down and that's always what I'm gonna do okay because when you photograph somebody straight on facility and look at may good girl let's get you into a better life you've got a little hot light coming on you now go back let's go back take a step away from a big oh I'm going to take a shot ok so if I stay at this angle here and I photographed priscilla adhere eye line then she's not gonna have any definition and hitchen okay, now if I turn forty five degrees towards the camera I drop it down and I pushed her chin ford now you have to really push your chin forward and I'm going to bring you here around this way push it forward pushing forward ok here's something that most people don't get to see in real life is I talk all the time about being about the eye line I lined being if I drew a straight line between my cameron priscilla would be here and I'm going to show you priscilla here a cake see can you see the tilt on my camera now all I have to do is engage your chin all the way around this way stop and push your chin forward even more now your chin darling good girl now that's right stay looking at may just push your chin forward towards may like this yeah now I don't want to get too low just pull back in this light like this studio ok they go chain around to me now I have to make a girl and that's the angle I'm going to shoot on okay? Because I want to be just above her eye line but not like this where I'm shooting down on her because it's totally nineties we went through this phase in the nineties where, like actually nineteen ninety when I'm I know where we actually used to shoot down on people and the idea is that we create length thank you. I would love the picture because you're like okay, so I can't really show you but that's my angle? Yes. Oh, yes. All right, if you wanna walk around okay, so all you have to do is open up that front shoulder push their chin ford open at the front shot to drop it down. Now one of the easiest ways to thank you for selling you go today. One of the easiest ways to tip people forward is to put the front foot forward. Now you don't want people to lean towards you like this, okay, you want people to lean towards you at a forty five so let's put our foot forward so that it's like that and then we can drop down like a little teapot, okay, so the idea is the teapot is the tip down and whatever is big goes back from the camera so booty goes back but budi goes back shoulder opens up the more space we have here and then we rotate without face into the camera okay, I've shot so many good curves videos on creative life one of the best is on twenty eight days we shall andrea and she's such a great curves model and she's such a beautiful example of opening up the shoulder and extending through the chin any more questions? Okay, we've got one right let's turn over this I know we're just gonna take the question yeah, okay, so I know that you're telling women if they don't have the assets of a large chest or large, but what about the women that do? And so you kind of just want to keep it average, but give him a little bit of accent because they obviously do have, so they don't have enough with a digital haven't okay, so when they win, if they have big boobs in a big booty really or you trying to do is tape of the waste? Well, if they've already got a slim waist, you pretty much can do whatever you want. I mean, the thing is is the most the easiest body type to photograph is an hourglass um the easiest body to photograph is a tall one it doesn't matter the size, the lengthen the limbs is extraordinary that's why models a tall um I photographed a girl one day she came into my studio six foot two now I'm five foot forty six foot two and she was in proportion but she filled a doorway like she was a big girl and when I saw heroes like she had big hands so a size twelve feet like this girl is a professional volleyball player and she really make dwarfed may you know, assawoman she was the size of a guy and I wondered how she was going to photograph but in the camera she's long and perfect proportion and she photographed like a supermodel and I was I don't give may skinny just give me tall you know, the most disadvantaged body type we have is short and curvy and yet the reality is this most of your clients are going to be short and kirby so I was photographing a curvy model the other day for opposing book that I'm working on and she said, do you know why I offered to be your posing model? And I said why? And she said most photographers don't teach curves or teach how their photograph curves remember we do not say plus size plus size did he would we removed it from the addiction rate she said you run after it was like I had to my clients were walking in my door and they just wear every day bodies and if you can make every day, bodies look good, you haven't amazing business, because it's more women that look like everyday women, they look like supermodels. I could spend all day in this park so much, so that was amazing, as always, especially without the ability, without the microphone. Fantastic. So everybody out there, what is going to happen next is we're going to take a little break so that we can get set up for our next segment with victor hot, so everyone just stay tuned. For more of photo two thousand fifteen. Thank you, guys, everyone for being here, stay here, right?

Class Description

CreativeLive is kicking off Photo Week with a West Coast Tour and you are invited!

Join Sue Bryce, Jasmine Star, Victor Ha, and Matt Kloskowski as they begin their adventure in San Francisco – meeting up with students in Sacramento and Portland – while making their way to the Seattle CreativeLive studios for Photo Week 2015!

Online viewers can stay tuned-in to their adventures by watching the On Air broadcast and following the hashtag: #photoweek2015

West coast CreativeLive fans are invited to join us, in person at the San Francisco, Sacramento, and Portland stops!

San Francisco - CreativeLive Office
444 De Haro St San Francisco, CA 94107
Friday September 18, 2015
8:30 AM - 9:30 AM

Sacramento - Cesar Chavez Park
910 I St Sacramento, CA 95814
Friday September 18, 2015
12:00 PM - 1:00 PM

Portland - Jamison Square
810 NW 11th Ave, Portland, OR 97209
Saturday, September 19, 2015
1:00-2:00

We are kicking things off in San Francisco with an early morning meet-and-greet. Join us in our Potrero Hill offices for coffee, donuts, and fun with your favorite CreativeLive instructors.

In Sacramento and Portland, you’ll get to watch the masters at work and take part in our exciting and educational Photo Walks! Sue, Jasmine, Victor, and Matt will be shooting and exploring – while our awesome partners will be out with us, ensuring you leave feeling educated and inspired.

If you love CreativeLive and have always wanted to get some face-time with our incredible instructors, don’t miss out on your opportunity to join us on the road.

BONUS! We’ll have some seriously awesome swag for the first 50 folks at each location!

Reviews

lehull
 

This has been a fabulous way to introduce Photo Week. We have had a chance to see the masters working in real conditions, and making the best of the conditions they found themselves in. Well done.