Inside The Glamour Studio


Inside The Glamour Studio


Lesson Info

BONUS: Constructing V-Flats

so I just want to talk to you a little bit about what just unfolded there because it all happened so fast and I would like tio you know get people more on the flow post for status I couldn't do what I just did them without tiffany because she was following me with the reflector and pushing here back far as fast as I was shooting and you know I never once told her to take a hands out of the frame which means she wasn't wasting my time she was working faster than may and she was there with a reflected every single time so when I worked with a big reflector board I don't need to have their constant movement but the one thing I get when I wake with another photographer another assistant is that they can just do that they can jewish and they can reflect and two things happen one of them is I get a great shot every time because I've got good reflected like back to the face and my client feels really pampered when we're all sitting around building their energy to me a two man team shooting is...

way better than one on one I used to think one on one was better but I was constantly walking around my camera to fix here and it becomes bothersome and it really interrupts your shooting flow when somebody can be right there hands and and you saw how close I showed a ll the time that's how close I shoot with all my clients so I had the benefit of working with the most amazing friends and photographers and tiffany is here to assist me awake because when I went with tiffany in l a she designed seats and backdrops for me so you're going to see them unfold over the next three days tiffany's also a photographer that heads around business so she's been shooting my style this year what she's actually infused with their own fashion style so she really had a bit of a fashion thing going on in her brand and she's incorporated my style also with her fashion style as well as the rest of her business which is amazing so when I work with people like that and help me I just have to say thank you because I didn't think you and I couldn't have done it without you um same was when I went with some minor couldn't have done that without it beautiful here and make up when she walked into sit I just could not believe her before and after was so beautiful rose to sit to make her husband's hint away this morning what are you doing this for your a volleyball player you're not a model so I think he'll feel differently after he sees a series of images this is the most asked question from my face creative life yes this is the most asked question since my first creative life where do you get the deflects the poly boards and the backdrops from okay it is it is the single most irritating email that I get in my inbox eighty times a week and I put it on my block but I get the same questions same christian so tiffany and mac my friends in l a decided that they would answer that question for me and so they went out and did this hey guys so I'm gonna show you how I make the reflectors that I used for photography and also the backdrops that we use in the studio and I'm in the sheet insulation department and this product is actually insulation for home use but we're going to use it for some photography work so this is called polly styrene and I'm using the inch and a half version the front of this has a thin plastic on it with writing and I usually paint that side so that I have a backdrop on one side and then the other side also has a thin plastic on it but this one needs to get peeled off so just peel that classic off if you're going to use one side as a reflector now they don't obviously as you can see stand up by themselves so we've put feet on the bottom of ours and I'm going to show you how I do that we're going to head over to a different department and I'll show you what I used to make this stand up straight I'm in the shelving department and that's where I get these brackets that I knew for the peace of my point two of these to the size of the polystyrene so these air eight inches by ten inch I have a ten inch going vertical so this side gets screw straight into that police siren well the eight inside goes into a two by four that spans the whole length now when you screw these in the polystyrene it's important that you get screw that greater than an inch and a half because this crew has to go all the way through the polystyrene and then you have to put a nut on the back side so that this doesn't pull back out of your foam core so once you have these screwed into the polystyrene and screwed into your two by four then you're gonna do the same thing for the other side so you four of these to two by fours and your screws to screw this all together and then you have a base that you can move your place irene around studio amazing tiffany thank you and the captain used after thousands of emails for me I believe you in into lows and you could do it at home depot you can do it a million different places where any city I go to in the world I google polystyrene sheets now you might think that is a very odd conversation to have but the truth is is my entire studio for twenty three years has head thes palestine cheats on them I never lent he used another if victor because I shot in a studio that had these big stand ups and when I started to leave that studio after ten years I was like well what other photographers use and I realized suddenly other photographers don't really use are they use you know silver or gold reflectors and I so I started to use them and I just found for natural light beauty work it put a glow on everybody that I did not like and so for the inside of a window the ultimate reflector for mai is that polly sheet I can have it cut them in half every now and then I have them and put them in the car s so that I can take them to locations with me I deflect them and I used them as um backdrops and then I paint them with net with house paint so I just want to show you one thing I ask tiffany to come and join me in seattle this week I asked you to make me three backdrop now I have three significant corners colored corners in my studio thank you I have five one is white one is dark gray but here we have a dark gray black okay then I have three colors I have a beige gold a muted beige gold I have a powder blue and I have this grey green now I do not know the colors of this because this is how I work every time I go to a new city or set up a new studio I buy new palestine sheets I go to the local hardware store and I go through the color chart until I find the grey green that I like and it is exactly the same color and every country but it's just called something different it's always a different brand I got this at seattle hard were they were so wonderful I wanted to pick three colors and the gold which you're going to see tomorrow shop tomorrow there's no gold up the yet I wantto I'm bringing their on for the porter cartouche is called peanut shell si twenty or this is all on your pdf um and it's just a beautiful muted beige gold and I just find to shoot on it is not my most popular color but it puts a warmth into my images when I am a naturally if you look at my work cold shooter so I like my work to look hold um I think it gives it more of a fashion look when you put skin tones into cold when I warm up skin tones I feel it's more portrait but a lot of people don't like cold work so I am definitely definitely pulled all my work towards sayin so that is a secret and my editing that gives me a little bit of affection look it's not for everybody I just think it looks really good on skin time but that's my preference the second color I picked was dresden blow I want to blow that almost white with a little hint of powder blow because I really loved the images I took used today of the girls when they were wearing white or gray the blue just had a little bit more moved than a white corner does correct right I just think that powder blow very lightly justin does it for me in terms of that sort of beauty style because I like to shoot towards sayin I feel that the light blue takes my image colder and then second one was sadie hook and it's that grey green that's the green gray that you can see on the corner on the leaflet that we shot on this morning it's just a beautiful grey green what I like about that corner is it's cold it's not a warm blue gray because I do not like a blue grey I prefer green gray I like the colder tones it puts me more towards the yellow and I just I think it's a really good time easy to find so these three colors we bought together cost us seventy one dollars and seven for seventy one dollars we bought out paula starring sheets for fifteen dollars each um you can paint one side gray green on one side gold so you may only have two by two to get two different backdrop backdrops so roughly on average for forty dollars you get a double backdrop now that you can stand up and you know also an ultimate reflector also the poly board step well against the wall they look funky they also blocked the client make them feel safe and when they're in their little cartoon of shooting and I just find is a substrate or a fabric to work with I would never choose anything over there when I first came to creative life they have foam core the flat's so they have the black and the white I'm gonna get them to put on the pdf where they buy those from because that was my next second questions so uses polystyrene creative life used the flat on phone call where do you buy those from so I'll get the creative life team to tell me that they can put it in the chat they can whatever they do put it on the block but they can feature didn't show you because this is just something that's so easy for us to buy and sit up a little studio and so easy to create we just get them sue from our local camera store I'll remember shop down the street fantastic and and the boys get the tape them together so that they are a v and they can be opened up and they just sit up in the corner there and they come white on one side and black on the other or they do come full blackened for white and they stand up when they're innovate tape together good old gaffer tape so tiffany came in this week with may we bought some polly boards we picked our colors she rolled them out for seventy one dollars we got three beautiful backdrops we got a rolla and we sit up in the beautiful big prop room upstairs and we made our backdrops and we're ready to shoot it you gave me the opportunity to only have two colors if I'd only had the grey and the blue not white not the black I've already done five six shoots with just those two colors I do not need any more now ultimately my shoots a gun all look the same over a period of time and they're not going to defer and I'm going to get very bored but my clients would never get bored because I'm not photographing the backdrop so if I photograph a ban door and I shoot in front of the band or I might get sick of the band door my clients might see the band or a lot in the advertising but you know you have to use a use a backdrop out use it before you move on don't try and reinvent the wheel every time you shoot just get them in their change the tones use their light use the curtains to change the light you will sell images that a beautiful if you're focusing on the opposing connection bonnie you must get interior paint and it must be the loa xin you can possibly get the mattis you could possibly buy it does not eat the polystyrene because its interior paint it's a little bit smelly for a day so do them outside the manure in your garage or somewhere where it's not going teo annoy you and it's easy and one part now we call it a liter and you call it a court court one court does one side almost two coats it's like a thick coat and then a thin coat so just like that you've got some colors you've got some colors to work with you've got some different styles what you're going to see over the next three days is how I used some different colors are used the black used the paper when I use the gold out of the dark gray carpet affect any lighting it seemed like you didn't bother seo tiffany was reflecting like back to her face she was bouncing it using the window light and she was moving with the light so it wasn't just sitting still there I don't find anything if anything if it was a white floor you will get a glow that comes up sometimes and strong light and that could really hinder you if you have a skylight that can hinder you because you're getting shadows laura in the face it's no different than sitting studio lights I'm just trying to manipulate some line

Class Description

Women want to feel as beautiful as Sue Bryce makes them look in her portraits. Join this award winning photographer as she teaches you the tools of the trade for modern glamour photography. Watch real shoots as Sue shows you step-by-step how to celebrate the timeless beauty of women.

this course will cover:

  • Posing for all body types
  • Marketing and sales
  • Photoshop® retouching

You might also be interested in Working with Hair and Makeup.

Sue will show you how she built a small photography business in her garage to $20k a week in sales. And more importantly, how you can use her techniques to grow your own photography business.