Lessons
Class Introduction
15:24 2Sitting Pose #1 & #2
09:46 3Sitting Pose #3
07:22 4Sitting Pose #4
05:06 5Sitting Pose #5
03:54 6Posing Hands and Mouth
04:44 7Sitting Pose #6
13:17 8Sitting Pose #7
12:02Sitting Pose #8
05:01 10Q&A
08:11 11Fashion Lighting Refresher
04:57 12Reclining Pose #1
06:28 13Reclining Pose #2
08:05 14Sitting Pose #9
05:44 15Sitting Pose #10
06:19 16Sitting Pose #11
05:06 17Standing Pose #1
17:20 18Standing Pose #2
08:14 19Standing: Fun with Dress Pose
02:29 20Leaning on Apple Box Pose #1 & #2
10:09 21Sitting Pose #12
07:26Lesson Info
Standing Pose #2
How about we go tio here? This is really interesting this wass the next pose so basically what I did was pulled back out of frame put the hand down here nice curly bet and that's with a long city. So the three quarter look off camera down this way wass it wasn't about her always being on camera. So that's your next pose in the lineup. Next post after that was your quintus ito to cover girl shop. This cover girl was what she did when she first heard there was when she put her hands on their heads. So basically it was about having hands on your hips this way but it's nice low hands on the hips because normally, when the shooting real bodies we're trying to create analogue class like this but she's already long enough so what she's going to do is just kill into her back position like that. Now, with normal portraiture we would never roll the shoulders forward and we would never roll the hips forward. So what I want you to do is day what if he's comfortable with your fate but just roll for...
ward like this so nice and clearly longneck too felix let's is she on that backdrop, felix, what do you need her to be a little bit more to the later go to your left, okay, this way that's a girl nice and curly and then slightly forty five to felix so good gil there it is no clearly fingers take a nice long killing fingers this is your quintessential cover girl now the one thing we don't normally do in portraiture get that nice long make up here where she's extended extend through the neck pushing forth extends through the neck there am I in frame felix can I get him here in the or do not need it do you think I think it's fine. This is quite graphic probably blocking your life. All right, now I feel like she's doing this toward the camera not leaning back so I want you to lean back and then killin a case of tried that lean back more more, more, more, more more long chin up and ford's they go let's see if that makes a difference and you're supposed to be forty five go good. Yeah long ten long ten long chin now let's to show once we nail it you're too far out I know you're photographing clothing catalog somewhere in between yeah, okay, so what I want to do now is let's just look at a couple of different hand position here cassidy from here put your hands straight down okay, now I want you to put your weight onto your right foot that's a girl give me some booty here lean back name back the beads falling off this dress is delirious ok look let's just lean lean back with your booty give me more booty being back with your upper body more okay, more more that you can do it push that booty up they go long chin felix staying square yeah let's have a look okay stop okay from here let's use hands a case a very slow rotation this way have a look see the shape you always rotating into the shape you khun see let's have a look at that election matter I'm getting a little bit of that back on rotate a little bit more into here really worked down on this post give me some space lean back so just really suddenly worked them around can you just take one? Just just take three and then we like way I just ways single while I wait okay lean back that's a girl beautiful okay now go again like more than that because of the blink because people have got to blink in the flash that you shoot some of natural light yeah because I have to wait for the blank theaters that's beautiful okay from here let's bring the backhand up into the ducal attash they can okay into the decal attack here and use your hands there always backhand, not front hand way that we use the front hand let's try put that one down because now we just close up this whole body line and the whole point was that we love the bass part which is this here okay so absolutely left hand up left hand can't touch the dick allah taj khun touch thee here khun touched the nick contempt the throat khun touched the outside of the hear lots of shape leaning back one hand out one hand down alright this wass pat off the opposing manually esquina the next pose if we get because felix was photographic quite quickly it folks at home were not really able to see the images so I'm wondering if we can review some of them okay don't do that quickly so we were this pose on dh not loading them in is all I really wanted to show you with this is you know this is part of the manual so I want to shoot it but basically there was a vera wang shop that I posted on my page the other day that I saw was excellent incredible it was a truly scared like this sorry didn't do a very good job of tying that she was holding it I've taught this I think so many times that it's probably something that you don't really need to re care palm but let me show you just in case when you direct people in movement it's one of the hardest things to do particularly if people can't move the whole point of this vera wang dress is that it showed movement in this form, and basically it was here laughing with the dress, I get them into a position where they hold the drift there, leaning forward, I get them into a body position that I like, so I don't just expect that they're going to pull this out. I'm going to get them to do it, fake it. So I want you to go like this and lean towards the camera one shoulder towards now, this one album in lean ford, more so I want you to grab the dress and lifted up that's it like you're laughing that I'm going to put luck, teo, ear into here. I'm going to get the shot really want to get this shot ready? I'm going to pop this much fan into here, they can. I need you. Lean forward more. I need you to ruffle the drift. I need you to go like this, move it up and down like this that keeping you out by then, my bow's aren't working very well today. Way could go. Yeah, you want to show you the pose is right? Well, they wanted to see the last places before you're due to this one, so we were here, and then this is this is still good, but then this is the one where you're covering the body and that's no, we've lost everything that we had in the previous shots. So we're going from there moving through so that's the flow from there, the hand comes up beautiful soft then it that's a no, then we're going back to this. I'm moving through those with the arms up and I actually preferred the now so do we lose everything before that? Is anything keep going backwards? I think they meant the whole sequence. The whole sequence. Okay? Huh? Subtle movement here. Oh, yeah. Then that the body comes around towards us. We're not going in reverse direction. Cava girls cover, go. And this is probably going to be kind of one of the things we crept back in that's a little bit too much of that guy and then we're doing the rotation, so we went rotation cava girl, side on and look at that that's how cover that's how money shot I'm gonna take that right now? Yeah, beautiful. So let me just go throw back through these really quickly and we're gonna arrive back at the skirt. Also, we're building a manual with every one of these images that we are good enough to be used as a prompt for you
Class Materials
bonus material with purchase
Ratings and Reviews
Robin
Spectacular class.!!! This is what it is like on a professional set. Time is money and the director gets the shot, Taking direction is the key attribute for the talent and crew.. That means tempers are high, there is humor and passion while cajoling the set to work together. The energy was amazing on this set. I loved their working relationship. Sue and Felix both have their vison for getting the shot. And they got it. I highly recommend this class.
Barrie
Sue Bryce has what my Thai friends would call a teacher's heart. It is hard to translate but basically means caring, deeply knowledgable, dedicated to constant improvement and possessing the ability to present to students in an easily understandable and accessible manner. "Near enough" is never "good enough'. In a word she is a professional. This course is highly recommended for developing a framework for photographers to work from. Sue Bryce also has many additional pieces of inspirational advice along the way in terms of styling and costume. A talented teacher who presents practical steps that can easily be adopted by others. Impressive!
Student Work
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