Shoot: Short Hair (Camille)
Well, I've got something really cool, 'cause I'm gonna bring Camille in for some pretty, pretty shooting. I often get, whatever demographic I show, so if I do lots of long-haired people, I always get, "What about short-haired people?" And if I do too many blondes, I get, "What about dark-haired girls?" So I do try to hit every genre that I can. But there's one thing that does make quite a significant difference to the images, and that's hair. And you know, it's something that, when we have hair accessories and everything in the studio, we don't have a lot of accessories in the studio because I want people to bring in their own stuff. I want them to look like they look. So, when I sort of sit down and look at all my favorite things and what to bring, I look at things like this. And I love these beautiful flowers. I love anything flower that I can transfer in an image. So I can put a flower behind your ear, behind your hair, as a fascinator, I can double up, triple up on flowers, I can d...
o it on a scarf piece around the neck, I can wear them on the shoulder, and there's so many examples of that when you look through my website and my blog, of different ways to just put this, I call it accoutrement, which are just accessories. And you know, don't go crazy over them. You can buy, these are amazing, I was just saying, we've got these headpieces here you can buy on Etsy, they're so reasonably priced, and they're so beautiful. You can make neckpieces, hair pieces, hats, fascinators out of them, and I think they look absolutely gorgeous on short hair. So we're going to put the links up. So these ones are, I can never remember the name, what did you call it, She'll Pass the List, it's an Etsy store. The link's gonna be on the creative live
It is the Celeste- Chateau de Celeste?
Chateau, shoot. Where is it?
And then I get most of my flowers from Alannah Hill. So Alannah Hill's a designer in Australia, and you'll find these a dime a dozen everywhere, they're just absolutely gorgeous. I try and get flowers that look as high quality as I can. Never the ones with the shimmer fabric. I like to add any little bits that I can. So short hair I'm gonna bring in any sort of accessories I can find. I buy belts and pretty things like that, that I make shoulder pieces. There's a really great example of a beautiful shoulder piece that we've made for tomorrow's shoot, Tiffany and I, on the mannequin, which is in there in the shooting wardrobe. The shooting wardrobe that is currently in the studio there, is everything from my studio in Australia. So I just find that I carry very basic slips in nude, white, black. I carry accessories, a few frilly bits, but ultimately I don't want everybody to look the same. And if I don't make them put effort into bringing wardrobe in, I end up getting multiple looks just with one look around the neck, because people don't go to the effort to go and source their own things. So we're gonna use these right now to see how we can make Camille look absolutely gorgeous. Also, I love going to cheap jewelry stores, I find neckpieces like this are just so amazing, $9.00. And I'll buy, I buy neckpieces like this and it's a great excuse to go shopping. Girls. And I do enjoy building my shooting wardrobe (laughs) I try not to go too crazy. Whenever I go to L.A. the first thing Tiffany does is takes me to Burbank, to the vintage shopping. There are corsets up there from the 50's and 60's.
That you tea-stained.
That I tea-stained to make them look older, that had never been worned, never been worned, never been worn, and we made them look like they had been. And you know, they're just absolutely beautiful. I don't go crazy, I like anything small like this, I like anything I can tie in scarves too, and it's just to pretty up images. I find if you can build a shooting wardrobe, you can get your stylist, your hair stylist, to help you out with things like that. Some things work and some things don't, so let's have a look at what does work and what doesn't. Come with me Camille, you can leave your microphone there. But the most important thing, is what I wanna do is I'll go up and have a look, and then I just go, "No, that doesn't work." And everybody's got something different going on, I'm not gonna put something like this on (laughs) on Camille's head, because it just doesn't look right. I'm gonna be really simple and really plain. So first of all, I'll try this headpiece and I've just gotta work out where it's gonna go, what I'm gonna do with it, and how I'm gonna make it work. And when it works for a beauty shop for me, as soon as I see that it's gonna work, I'll take a photo of it. So I really love that, I might just swap sides. Gorgeous. Okay. For starters, the color you're wearing right now, the teal that you're wearing, is exactly the same color as your eyes. So as soon as you photograph it, it's gonna be beautiful. I'm gonna do one on and one off, so come in here with me. I'm gonna pull this out, I'm gonna go straight back into where I was with Rose. I need the overhead lights off, if I can. Is that possible? Kneel down. And I want you to hover up and over here, so I want you to, that's it, beautiful. What I want you to do is come up and over your shoulders. Okay, and then right up and over, so I want your shoulders over your elbows, good girl. But lift up nice and tall, right up through here, and push your chin towards me there. As soon as I see her eyes engage, I get that beautiful look there, and as soon as I see that, I absolutely love it. Now turn this hand this way, yep mirror me, and then turn this hand there, so just go across. As soon as I cross that arm into here, I might need some more curtain, the light's dropped away quite significantly. And if you can bring a V-Flat behind me, can someone help? Anyone. Can you pull that? No no no, just a little bit at a time. Okay, just want the other half. Because we may [Crosstalk] Well, put it there, but I don't wanna block my view. Yeah, so just there's good, just there, Tiff. And bring this one on this side. So can I still get a camera in there, sorry. I just gotta bounce some lights in because we're a little bit too dark now after lunch. Can you reset that, is that all good? I can't see the monitor, so you just need to bring that 'round. Okay, so nice and tall, lifting up through your body, that's a girl. Now this hand I just want, no, this hand here, mirror me, just go straight up and over, and then I just want you to bring your chin forward and down there, don't move. (camera shutter clicks) From here, I just want you to bring this elbow in, this one, elbow into here, and just take it to the neck. Now bring your elbow all the way, cross into your body line, straight into there, okay. Now pull your arm away from your boob. That one, that's it, perfect. Now just gently sit forward, and down into that position. Good girl. This is like you've got your pink hair back. (camera shutter clicks) Love that little smoke. Beautiful, okay from there, just bring your chin down so I can see that, please. Now soft fingers, relax them up around the face, let your fingers go up a little bit more, back further around your face, extend them out just a little bit more, lift up through your neck and shoulders, and then push down, don't move. Okay, I want you to really relax your mouth. There, good girl, that is absolutely beautiful. (camera shutter clicks) Okay so what I'm doing now is, just take that off. And as soon comb it down, because you can also wear gorgeous big earrings, that's another thing that you can do that looks really good. Move that way a little bit. Without moving too much, I'm going to just shift this shot really quickly, so go out. That's it. Now I want you to lie on here on your tummy. So just keeping it plain, feet down at that end. And lie on your stomach. If I just wanna change a shot really, really quickly, just like I did with Rose when I was just getting her to go behind it and in front of it. I think this is absolutely gorgeous, I don't feel the need to put anything under here now, just because her dress, her shoulder is really beautiful. Lift up nice and tall here, and I just want you to bring your chin and connect it down here to the shoulder. I love that. You know sometimes short hair only looks good on a really, really pretty face, and you've got such big eyes, but your shoulder, everything that connects, I want your hand to go there, and I want this arm to go across. And the reason that we do that is I want some asymmetry. Now I want you, you're sitting into your, that's a girl. So when you lift up nice and tall out of that pose, create that space between your shoulder, bring your chin down a little wee bit, okay, don't move. Wow. Okay bring your chin, lift up at the back now, and bring your chin forward and down. Down a bit more, down a bit more, you got it. Stay right there. (camera shutter clicks) Beautiful. I love that. Okay from there, I want you to, can anyone just slide me back that curtain any more?
No, it's stuck there?
It's stuck there.
Okay, can somebody work on it just off camera so that I can get a little bit more light. Okay from there, I want to, oh look at your eyes, they're the same color as your dress (laughs). It's amazing. Okay from there, I want you to just come around to me, walk around a little bit more. Okay, because I have her shoulders and not her hair, I wanna use the squareness of her arms and shoulders, so I need you to push that down. That's a girl. I need you to lift up really, really tall through your neck and shoulders, that's the one. You came around with your upper body, but you didn't move your lower body, so I want you to scooch back, cross your ankles, lift up nice and tall. Okay now I just want you to bring your chin down. Stop. There you go. Thank you that's enough. And from here, instead of using her hair to frame her, have a look at these shoulders when they came around, because as soon as we got her shoulders in alignment, she looked absolutely incredible. Right there. I love that. Okay from there, I've got a scarf there. No, a scarf.
The light pink one?
Yeah, Oh yeah, there it is, okay.
So before we go any further, let's try Camille with a flower. If it doesn't look good, I'm gonna take it out. You're either a flower girl or you're not, right? Do you like flowers?
I do, I wear them when I had a little bit more hair.
Oh see, I love you with flowers, okay. Hang on. Hmmm. Oh I like that. Okay, let's put you more into a let's get you on that brick wall. Okay, so come over here. Okay, a mixture of make it up as you go along, what looks good, what doesn't look good, what suits her, what color doesn't suit her, and what she's wearing. This is what you know. So let's take that ottoman away and are we able to open up that big vent? Now, I want you to sit down. Okay so Rachel, just help her take those two out. No, you come with me Camille. Rachel goes that way. Okay, sit down.
Just take it, just take it out. Snip it out.
Want me to sit on my legs?
Okay, as quietly as you can. Okay what I want you to do is I want you to sit on your hip like this, that's it. And I just want you to lean back onto that concrete wall. So we'll find something that can clip in. Which of those, can you take them out girls? I'm shooting down the wall a little bit more so I just want a little bit more space. Can I have, can you lift them? Can I have the flowers on the ottoman too? All right, from here anything you do with your hand close to your body's not gonna work for me. So any time I get anybody near me, the first thing I do is take this hand away, this leading hand away. This hand goes onto your thigh, slide up a bit, not yet, and just point your toes. I might as well just take a shot while she's here without anything, and I just want you to engage your chin all the way around to that shoulder. So for me, what's really working with Camille with her short haircut is the fact that she's wearing a halter neck. She's got gorgeous square shoulders and I really love the short haircut with the shoulders. So I'm just gonna go ahead and, reflector. And just bounce it 'round this way a bit more, around the front way if you can, 'round my way, keep coming 'round. Yeah it's more important I get light to the front of their face than the back. Actually stay there, can you go to the back? I'm gonna take another shot so I can show how much that reflector changed that shot. (camera shutter clicks) So I was there. Okay so if you have a look on the screen, that was the difference between bringing the reflector into her face or not, and then it went back to no reflector and it's quite a significant change. See that? Okay, one little white piece of board. It's almost a stop or two stops to the face, and it's a significant difference in the shots though. When I come back here again, I wanna bring that light all the way around to the front and bounce it back to her face so it's never bounced in, it's only ever bounced into her face. And the difference between that shot and the next one is quite significant. Okay so you gotta be able to see it from there, it's really, really important. So always make sure your reflectors are right on. So stay exactly where you are, and I think we'll go on the, well let's try both?
Go the other side, go between the wall. Yeah, go on this side.
I'm gonna clip it
Actually you know what? No, go on the other side. When you clip into the hair, you just push the clip in until they bleed (laughs). Until they cry out, maybe. You know, "Oh!" (laughs) Bleeding.
You're not going to give in to me.
There, got it.
Yeah, you got it.
Okay. One more?
Yeah, I'll do this one from this angle. This one's got spiky bits, maybe I'll pull that out so I don't nail you with it.
Careful with it, because those are--
Oh man, she's got way more hair than that, you've just gotta find it (laughs).
It's kinda coming down.
Okay, I couldn't get it to stick that way.
You can clip it to the hair maybe.
No no, we'll get it. Like I said, you're not bleeding yet.
You won't hurt me.
We might be able to get on the hair a little bit.
Oh yeah, with that one. No, that one 'cause it's got a band on it. There you go. The old hook it around the ear trick. Some people come into my studio with wigs and I very, unless they need to be wearing a wig, so unless they have alopecia or, or you know something that requires them to be wearing a wig. If some people just bring in the wigs for the fun aspect, bring your chin all the way around and lean back to the wall so I can get that, then it doesn't really work for me because I find the wigs are, the cheaper wigs, are made of nylon and they shine a lot and they look quite artificial and I don't like it. So I kinda turn down people that just wanna do the fun wig shots. Also, sometimes I get the idea that there's a fine line between the fantasy dress up, and actually taking a beautiful portrait, and if you have a fantasy wig that's nothing like your real hair, so it's not to bulk up your natural hair or anything like that, it's actually just to play with, then obviously you're not gonna get a portrait in it, 'cause it's gonna look shiny and it's gonna look like you're wearing a wig. So unless people have to, I kind of avoid them, or avoid using them, or try and talk them out of it if I can. This is absolutely gorgeous, so what I'm gonna do now is, I just need you to pull back Rachel, because you're giving me too much reflected light, thank you. And what I want to do with you is I want you to bring your chin around to me, very slowly, stop. And I want you to drop your bottom lip. (camera shutter clicks) Stay there I got a blink, sorry. (camera shutter clicks) Okay for me right now, all I can do, just gonna lean back here, is just get you to bring your chin down a little more, stop. Just gonna make sure that doesn't fall. I will tape it to your head if I have to.
Okay. (laughter) Superglue, whatever.
Okay bring your chin in a little wee bit more, that's it, stay there. Okay, relax those eyes for me Camille, give me those beautiful soft eyes, good girl. And just relax that bottom lip, okay I'm just waiting on your blink, you just blink naturally. (camera shutter clicks) Beautiful, good girl, lovely. Okay, from here, what I wanna do, is I want to try and hit some light. Stand up, and we'll get Camille a soapbox, and I'll have a box as well. I'm gonna try and shoot that same thing, straight into the light. See if we get a different look. So I'll see if I can stick this in here. I've never met a female client in all the years that I'm shooting, don't tip your head because when it, yeah, just go normal, any more clips you got there Tiff? I've never met a female client in all the years of shooting that doesn't enjoy dressing up and playing, playing around with stuff like this, so sometimes we dress things up and they just work. These are not really--
You want bobby pins?
So um quick, folks were asking this all day, and we held them at bay, (laughs) but now I would love to ask you, from Karen Love from Memphis, "In this particular situation with this natural light, can you explain what camera settings you use and how you--
decide upon the settings for natural light, like what's the order that you look for, where are you focusing, where are you metering?"
People always love to know that, so if--
I could get that--
Yeah cool! All right, let's do that.
of the way (laughs).
What I'm doing right now is I'm standing Camille up into the light, I'm trying to get the flower to sit right on her hair, which I'm not quite getting. Just wedge 'em in as fast as you can. Other side, other side. Okay and what I do is I'm shooting at the moment, when I was in that corner, I started to lose light and I started to shoot at 1600, I bumped the ISO up to 1600, let's come down for a minute and I'll talk, and you can stick that on. Get one of those bands and that will help it out. Simone, can you help? Because it's not very interesting watching wardrobes not work. All right (claps). So all of a sudden, I'm shooting into the backlight, I'm shooting at 1600 ISO, we've got actually quite a bright light coming in from behind her, but we don't have a lot of light coming in from the front, so when I meter in camera, I'm at 4.0 because the 24-105 only shoots at 4. wide open, I could go wider on my 35 mil, but I'm using the 24-105 so I can show you different brackets of composition, and basically what I've done is I have gotten a focal point right on her eye, and as soon as I take a light reading there, I just, I'm on manual, so I see it in my camera, and it's reading at 4.0 at 4/100th of a second, 1600 ISO. And it changes 'cause I shoot on manual, so I just keep my focal point over the eye. Now when I shoot on... when I shoot on... Okay, when I shoot on manual, I'm constantly focusing on the eye, taking a reading in-camera, and then I just set my shutter speed based on whatever it needs to be. I tend to shoot, and I don't know why, and it might just be a crazy thing, but I tend to shoot a stop over. Okay so does two things, one of them is it pushes everything lighter in my camera, and when I do show my client the back of the camera, I feel like it looks really good. But I'm always shooting more on the higher side of the center part of my shutter speed of my light reading in my camera, than the lower side. Yeah always, always, always, on one stop at least. All right, so now we've got a headband. And we'll now stick it on the headband. I think these clips were getting too heavy for you. Top, where's the top one? Just put 'em on a headband. No, we're gotta, yeah?
Would you ever use the light meter handheld, or have you ever used it?
There's one on the camera.
Do you just wanna use this or that, she's made this too.
Yeah, I don't want
We have other options.
too much though.
Let's put it, no, no. There you go, we've got it on. Stand up there. Okay so something I don't want is, yeah there we go, perfect. I need two reflectors, so Rachel I want you here, and I want Tiff here. When we're shooting the backlight, you get a very small window to watch in between here, but when we're shooting the backlight, look at the difference here. What I'm gonna do now is I'm gonna take this shot, I want both of you to pull back, and both of you to tip up. Because you're bouncing light. That's it. So can you still see through with a good camera angle there? Okay first thing I'm gonna do without posing Camille is I'm just gonna take a shot of her here. I focus on her eye, I'm one stop over, I'm at 12/ shutter speed, nice and fast at 4.0. (camera shutter clicks) Okay, she blinked, sorry. Now I want you to pull away. So have a look, okay straightaway, I'm here. Actually, here. Okay I'm struggling to find a focus on her eye 'cause there's not enough light going to her face. Okay so that's the difference between the reflector and not. Watch. Bring it up, bring it up. Yeah, okay now I bring my reflector back in, perfect. Okay, I'm right on her face now, I jump it up a stop, I'm at 800th of a second, 4.0, and (camera shutter clicks) there it is there. So I want you to now bring this hand in, just to bring it up to the face, that's exactly right. So elbow in, so the elbow always cuts into the waistline, there, I want you more on the neck than the hands, good girl, I want a long chin forward and down. Totally changes the shape of your face. And I want this hand to go through, so I want you to cross, good girl, that's exactly right. And then I'm gonna shoot it here, I want you to completely relax your mouth, girls bounce in lots of beautiful light back to Camille, and we're right there. So I just love that backlight, you watch how when her arms come up, she significantly changes in her shoulder shape. And it (sighs) I love shooting into this light. Okay from there, I want you to give me a little smirk. And that's it, and then, gorgeous, gorgeous girl. Okay from there, I want you to turn this way, and I want you to work the shoulder towards me. That's exactly right, I want you to go like this and cave in your upper body. Okay, when people have nice square shoulders like Camille, I get them to do that model shoulder, but when I do is I take the weight away from here, when women push their elbows, their arms against their boobs, they get their hand, this arm here thickens up, and it just looks like it's bigger than it is, but if you take the weight away from it, it slims it down straightaway. Then what I do is I roll the shoulder forward, so from the front, you don't need to hold your arm across your body, 'cause as soon as you do, I call it, "Leg of ham," because it looks like a leg of ham when you push it down, remember your breast is being pushed against, it's like when the boys do their muscle shot, except for it's the opposite way and it's your boob doing it, and it's so not cool. It's like that ♪ dun dun dun ♪ (laughs) but it's more like, you know, "Ew." So I always take the pressure off the arm by just bringing it towards the camera. I can actually put my fingers through there now instead of having it squished up against here and flattening it down from the front, so just pull the elbow away, nice curve in the back, so she can sit into that nice model curve. So you can see these shoulders, and these shoulders look like supermodel shoulders, so bring those reflectors back up again, and this hand, I want it on the throat, okay. So I want the fingers up, elbow towards me, okay we're always bringing our elbows towards the center of the body, because if she has her elbows out, remember elbows out is Farmer Joe and elbows in is that feminine hourglass line, makes such a beautiful difference. So bring that light in for me ladies. And bring it around to here, not me. So flatten out, Rachael. Flatten out, come around to me, that's it, it goes to Camille. Okay, so they're bouncing light back to her, relax that mouth, gorgeous. Bring your chin up to me, and let your eyes soften down, now that's it, sorry, blink, sorry I'm watching for blinks not you. Okay as a beauty shot there, we've started to take away all the effect that you don't have hair anyway, because the flowers are just coming in and I love it. So lets put you on the blue, in fact let's move nothing, let's just walk you over and sit you right here. And I want you just to sit down, that's it, now I want you to turn sideways, this way, okay, and I want you to just perch on that seat, on the edge of your bum, so take your feet off, or you can actually put your feet up there. Turn away from me, okay. Now, nice curve into your shoulders again. Beautiful shape. As soon as you see her do that, this is where I'll take the halter away, and I'll remove it to here. This is where I drop the halter tie on national TV. (laughs) And go, "surprise, reveal." Okay I can put that pass there and as long as I can't see it from the front of the camera, so right from there, straightaway I want two things. I want her to take her elbows forward, so I want the pressure to come off here, so they're not squeezing down sideways. I want her to kick her bum back to me. I wanna do a nice rolling shoulder forward, 'cause this is very model-y to me and I'm loving the square shoulders. And then I'm going to get you to slide your hand back. Now if you look from the front, if you can get this camera angle here. What I like about it is from here, her arm covers her breast line and shows more back, which is gonna make her look bigger. If I take this elbow and just slide it back to here, but keep that shoulder forward like that, then what happens is it shows her breast line and covers her back, okay. So from the front I've just used her own arm to shape her body, right? So she's sitting on the side, her arm has now covered her whole back line, and from the front you can't see it. And really you don't need to see that hand, 'cause I'm gonna cut that off nice and low. So if I go to here...
I think my strap fell.
That's alright I can't see it. Ah, that one.
I think it's just the ribbon.
Yeah, okay I've got the ribbon and the halter neck going off the other side, I want you to give me a slight tip this way, and then bring your chin, not too far, 'cause I don't want you to be doing thunderbird, and I want you to roll your shoulders forward, that's a girl, and bring your chin long to the end of your shoulder, and down. Okay, so from here, I'm there. I just wanna show you what this looks like. If I take her hand forward, and show her back, I've got to make sure if I do that, I've gotta make sure I tuck this top in here, just half way back, it can go to there, but not further forward. Any further forward, and she starts to lose her shape. Okay, now, bring your chin around to your shoulder, put this hand here on your thigh, other hand, yep, and slide... that's it! Now you watch that, thin her down, now roll your shoulders forward now, good girl, there you go. And can you see that shape just bounce in? Straightaway, soon as she rolls her shoulder forward. Now, whenever I'm shooting, I don't get too worried about arms. Arms are the most paranoid part on all women, the first thing they say is, "Don't make my arms look fat," Don't they Kenna? "Don't make my arms look fat," "Don't make my arms look fat." I always look at it like this, I will try everything in my power to get a perfect shape into the body, and if I get anything on the arms that I don't like, I can Photoshop it afterwards. Very, very important. Okay, I want you to, slip behind this, little v-flat here, Tiffany will cover you, and put your black dress on. And then take that headpiece off. What I did here, with this shot here, was use the scarf. Using a scarf to direct people, is actually quite hard to do. But today what we did with Rose, was she had very long hair, we used roses here, like a scarf. Okay, we pulled it out, she was touching her hair, so let's do a little bit of a scarf series. And see if we can't get her to move and direct with a scarf. Okay, how bout we, can I have two helpers to move a v-flat?
Question from Jocelyn Photography: "It seems like when you position this beautiful model, Camille, that you're not shooting her with complete front lighting. So say, having her facing toward those light, and can you explain to folks why that is.
I never shoot with complete front light. I only have side light, and reflected light, and back light, okay? I'm never in a situation where I'm turned towards the light. Ever. Ever, ever ever. When I see natural light- oh you can't get out?- Okay, you alright girls? Alright, we might just go and leave, is she in the dress though? In the dress?
Yes. Just put it on and go and leave, and go and do that. Alright, so let's just look at this for a minute. Come here, Bonnie. Alright, here's my light source here. Here's my v-flat here. And my v-flat, like Shakira said, it's open this way, and not the other way round. Okay, so that you can see it works so much better in terms of photographing, because what I have the ability to do is, I'm getting this side beam of light just coming across me. And I'm always here with a reflector right here, bouncing it back. That's all I have to do is find the side light. It just doesn't work being in direct light. Although the irony is, all I'm ever trying to do is to bring the face back square to the front or wherever I'm standing, so I'm trying to balance the amount of light coming through- she's ready? Come on out. Okay, so what I'll do now, is I'm gonna play with this. So let's work out how to do that. First of all, I'll photograph her like this, and I'll just bring the scarf into the shot. I need- if you can give me... just bring that white v-flat in, inside this green one, you won't need to hold a reflector. Alright, I want you first, to just, come and lean up against here. That's it. And I want you to take your weight on your back foot, and then come down this whole shot. You know, this is my quintessential shot, right? This is where I start with everybody. I do this shot with every single person that I possibly can, because it's a beautiful shot and it just works. Also, it's a really good starting point. Keep going, Tiff, push, push, push. That's it. It's a really good starting point. Now have a look, in terms of her being in a little soft box there, can you see the difference in light? She's in such a beautiful little soft box, light is just bouncing all the way around her. Obviously, our only light source is coming from above me. And what I want you to do is bring your chin around right there. Now, if I feel like I need more light I have these short reflectors here and there's something that I always do, is I grab one of those short reflectors and I bring it in, but I bring it in low, like below my waist level. So I sit it in to about there, and then I think to myself, I am bouncing some serious light. I'm bouncing it from there, to there, to there. And I'm just bringing it right in, and, you know, there might be a little bit too much, but I try and make sure that I'm evening it out. So, I've always got halves, I've always got fulls. I'm gonna start of here, and what I want you to do is bring your chin all the way around to your front shoulder. Now regardless of your body shape, I'm always trying to do two things. You need to move it that way, that way, so I can get in. I'm always trying to slim the front arm, and so you do that by rolling towards me. Stay there, stay there. Just roll towards me on the wall. Because as soon as you roll towards me on the wall, the arm slims down significantly, okay. So what people do, is they get their arm caught up on the wall so I just position the arm, your weight's on your back foot, this is just to give you a little bit of color and light, and remember what I did yesterday and the day before with Midori, is I brought the scarf down her arm line, that works as well. Okay, from there, your head goes straight, and your chin comes around. Okay, can you just lift up so I can tuck that in? Perfect, go back, there you go. And I just wanna open you up to here. So this line, for me, for everybody is where I start out, and then after I take this shot... lips together, and give me a beautiful little smile in your eyes, good girl, that's perfect. Okay, from here, now I move her. So, starters, I want you to come up onto the side of your body, towards me, again. Stop, not that far, that's it. Go back halfway, turn your hips this way, and just bring your chin forward, long chin, that's a girl. Now, very very slowly bring your head around to me now. Stop, don't move. Absolutely perfect. You need to give me a little bit more of a smile. (camera shutter clicks) Beautiful, there you go. From here I want you to go to that back wall, now you can't lean on it, because it's just a floating v. So what I want you to do, is use the scarf, so turn it around and hold on to it. Okay, if I'm going to give two hands, if I'm going to give my client something to do with a prop I've gotta make sure that they feel comfortable doing it. So I'll grab it like this, I'll turn it around, and I'll say what. "What we're gonna do is play with the scarf. So I just want you to play with it, and find a shape that you like, and just do something funny and if you wanna do something like this, and if you wanna laugh, and have fun, I'm gonna talk you through it. Then I want you to grab it. I want you to pull it over your head, I want you to give me a beautiful big smile, and let's have fun with it, Okay." Now the more that I can direct her in doing this, the better the shots I'm gonna get. So I'm gonna just talk you through as many different ways of playing with it as she can. So first of all, I want you to hold it. Don't turn your body away from me, I just want you here. Lots of shape into your hip and shoulders. And I want you to cross it over somewhere on your body. So, you just went like that and threw your head down, so I want you to stay upright. Okay, I want you to bring your chin toward me and down, that's it, and I want the scarf to go just criss-cross in color, I want you to hold it and just cross it over, that's it. So just do that with a beautiful big smile, go. I want you to turn this way, so stay with your body line, keep turning, turning, turning, that's it, and I want you to bring your chin down and look at me this way, good girl, that is gorgeous, stay there. Okay, I want you to grab the scarf. I want you to put it over your head like that, so like flatten it out, and I just want you to wrap it around your head this way, like you're wearing it like a beautiful scarf, wrap it round your head at the back and just hold it. So I want you just to look like your playing with it, not that you're... That's it, perfect, exactly right. And I want you to go eyes down, and be... Eyes down, eyes down, down, down, down. Look down, eyes down your own body line. And beautiful big smile, go. (camera shutter clicks) Okay, I want you to grab it and just pull it down so it's almost over your eyes. Okay so wrap it around and don't tuck your chin in, lift up nice and tall, that's the one, and just bring your chin around to me now. Okay, stay there, relax your mouth. Lift your chin up, long neck, long neck. Up, up, lift up. That's a girl, stay there. (camera shutter clicks) Okay from there, I want you to hold it over your face like this and just put your eyes down, and give me a gorgeous, gorgeous, huge, big smile. Okay, long chin, okay stop. So as soon as I start moving people and they start to close up their body language, I have to go back to the start and put you into a position. Turn back to me, you did that. Okay, you were slowly floating around so I want you here and here, that's it, I want it to look gorgeous, but not to cover your ears, that's it. So now long chin, so keep all of those pushing your chin forward. That's the one. Looking down, starting there, and I want you... Long chin, forward and down. And just move your elbows a little bit to go this way, yep that's the one, long chin, long chin, down, down, down, down, down, down, down, down, down, keep going down, stop. Beautiful, big smile there. (camera shutter clicks) Okay, turn around and look at me, pull it back over the back of your neck and just play with it, just lean back, stop, don't move. Okay, don't do this. Okay, so when you lean back, nice and tall. Take your weight on your other foot, kick your bum back, turn long chin this way. Okay, half way back. I don't want...I want people to move naturally, but I don't wanna leave them out there too long, and I certainly... work that shoulder, Camille in the front, and give me a beautiful big smile, go. (camera shutter clicks) And I don't ever want them to feel like, they feel stupid. So, the idea is, the more I can work that, and whenever you do moving direction poses, you actually have to work harder and longer, so if she's gonna do something like this, and play with it, and then laugh and then get real reactions, you kind of have to bang out an extra five or six shots to get the killer shot that comes at the end when they start laughing, you know what I mean? So, very few people are gonna nail what they nail with the scarf the first time. You want them to play with it and have fun, but I don't just let them do it on their own. So I keep coming up with ideas, like I'll keep saying, now wrap it around your shoulders, and then once I've wrapped it around their shoulders, I go, "Now turn away from me, now turn the other way. Now turn the other way." And I also, whenever I'm playing with direction or anything like that, I say things to people, like when they look really ridiculous and they feel ridiculous I kinda go, "Oh my God that was so bad," and then they crack up laughing, you know, and then you take more shots. So, it's kind of like, you know, you just keep tying in more and more fun with it, but just keep the strong direction as much as you can, like as much as you can. It's really really important. Okay from there, there's a couple of really classic beauty shots that I love, that look fabulous with short hair. Come here, and just go into there, okay. The first one would be... I'm just gonna drape that there, I just love having a little bit of decoration of some sort in there, doesn't really matter what it is, it's just gonna suit her, and short hair always makes it look like a long neck, looks wonderful. I'll bring that out to there. I want you to just touch back with your hands, that's exactly right, and then I just want you to touch back with your bum, good girl, and then work the shoulder for me, stop, and then long chin. I love this, there you go. Stay there.