Shoot: Fairytale Goddess
Lesson 11 from: Modern Women's PortraitureSue Bryce, Lou Freeman, Lara Jade, Emily Soto
Shoot: Fairytale Goddess
Lesson 11 from: Modern Women's PortraitureSue Bryce, Lou Freeman, Lara Jade, Emily Soto
Lessons
Day 1
1Marketing with Sue Bryce
44:27 2Marketing on the Periphery
29:13 3Marketing Q&A
13:36 4Mentoring with Sue Part 1
35:20 5Mentoring with Sue Part 2
28:43 6Mentoring with Sue Part 3
22:03 7The Birth of a Fantasy Concept
29:02Inspiration and Motivation
34:25 9Lou Freeman's Creative Team
38:29 10Shoot: Birth of Venus
27:23 11Shoot: Fairytale Goddess
11:40 12Shoot: Moon Scene
40:35Day 2
13Lara Jade's Background
22:52 14Ten Steps to Success Part 1
30:32 15Ten Steps to Success Part 2
44:45 16Shoot: One Light Setup
26:02 17Shoot: Two Light Setup
40:13 18Emily Soto's Keys to a Successful Career
21:25 19Shoot: Digital Camera
21:11 20Shoot: Film Camera
26:50 21Film Q&A
13:10 22Digital Post Processing
23:00 23Emily Soto's Photoshop Actions
19:16 24Polaroid Post Production with Q&A
23:09Day 3
25Shoot: Fashion Posing Part 1
24:54 26Shoot: Fashion Posing Part 2
30:40 27Model vs Non-Model Posing Comparison
33:16 28Posing Multiple Body Types Part 1
21:19 29Posing Multiple Body Types Part 2
43:47 30Posing Multiple Body Types Part 3
36:10 31Shoot: Portrait Posing Part 1
22:55 32Shoot: Portrait Posing Part 2
34:17 33Shoot: Portrait Posing Part 3
15:33 34Boudoir and Glamour Posing Part 1
33:33 35Boudoir and Glamour Posing Part 2
17:13 36Shoot: Bourdoir Posing
25:45 37Go Forth and Conquer
14:37Lesson Info
Shoot: Fairytale Goddess
So what we're going to do now is we're going to pop over here on this next set well, they're doing a little change over and these are the led panels that we talked about you guys can go ahead turn this on if you want and this is a new product that is just amazing it's called the eye lighter I have you know we've all seen flexible fills it looked like this for beauty for moving the light around when you're an open shade and you're doing a beauty shot we're going to do a beauty shot this time in your open shade now like let's say garage door open somebody's in the shade your reflector goes here the closer it is the more it fills in the face and gets rid of those lines on that piece of gonorrhea was talking about earlier if you're outside in the sun and you want to move the sun, the reflector doesn't come from underneath it comes from overhead we're used to seeing shadows fall naturally on the face so rule of thumb and snapshots for me is that flash is always on because phil is your frien...
d every woman needs light in her eyes if there's no light in our eyes you're not looking into the eyes that's why when you see snapshots in the full sun and everybody looks like they have little squints and no eyes, you don't feel like nice picture, but I can't really see their eyes it's your job to actually put that light there so shiny, full flexible fleck reflector is good. These things are like way to go in your suitcase here's my little cake board first about one, because I left my reflectors somewhere, then about to and then I just started making out a little too reflector, so you can just kind of see how even in this kind of circumstance, how it fills in underneath this one's really shiny? If it's too shiny for you, just get a piece of steel wool and scratch it up. They will get scratched up if you're using enough, too. But this I lighter is amazing for the studio this one's a portable version, and it raises and lowers two rods that flip around here and the reflector on top. So when the subject comes around and stands in front of the background, you have automatic light, so if you work by yourself, hands free reflectors right where it needs to be, then all you have to do is worry about posing her. So susan and samantha are actually changing her up for a beauty shot, and we're going to like this with the two leads, I've got one position high. Turned up with the power just a little bit higher so I can have somewhat of a rembrandt there's fall off to shadow shadow sometimes makes for an interesting picture flat light to me is more flattering it's going to get rid of all the lines, but we're shooting fashion. You can use more interesting light that's your one chance to be daring, not making ugly shadow on somebody's nose, but to make beautiful fall off. But to catch the phil, you can either choose a second light in a low setting that just barely kicks in because it's dark there it's not going to take much like to fill in from underneath, so what we'll do is we're gonna have her here. I chose this background because it has cherubs on it and it's sort of related to me. So what? Susan was already designing with these crowns to the current that the actual courses says she's made are made out of steel, and I just kind of felt like it needed a garden kind of feel to it. So when she comes out, we can stand her here and the way you decide how to raise or lower your your lower line is when the eyes actually filling and life comes into it, so I'm gonna show it to you within without head shots to me, your beauty shots you can either come in very close or come down to the nearest point on the body turning the shoulder sideways thins everyone down and makes him more interesting angle crossing arms makes confrontational removed statement so I usually keep the arms down unless somebody's trying to show me their really powerful and they mean business body language is what you used to tell your story so poses that might go where she was very sexy and glamorous the post for the artful shot she might be a little more to me or her expression might be even a little they can't there's a good way to describe it, so susan designed the crown and this steel core set and I'm going to show you first with just this light turned away all right? Do you want the stool to lean on when we grabbed this duel from behind this way you have won your stools I'm gonna sit her because I know she's uncomfortable so we want to make her feel good and also feeds going to take some of that energy back and maybe I can get the life back to the face so I'm looking at how now she seated so I'm going to want to lower this down just a little bit and I'd like to slide you over an inch this way beautiful you're right can we scoot you over a little closer to the cherub so when I'm shooting beauty, I want to close the gap most of my beauty shots when I'm shooting strobes the lights are right on top of the person like she khun like literally touch it all I want to control that and get it to smooth him clean and silky white is I can't her skin that is makeup as the makeup to come all the way down so that when I get the image back, I'm not trying to match the skin tone to that beautiful makeup that's applied makeup artist won't do it I won't think to do unless you ask them so every time you do beauty his shoulders are exposed you kind of want to take it all the way down okay, thank you ways set it down really low and drop it down as low as you can so posture posing posture power for women stand with your chest lifted this is not a powerful woman this is a granola chic woman so when you know you're you know you're poses, they're your other thing that gives the expression that this subject cast if you've never had a conversation with her to tell her what the image processes here, then what? What is she? How was she to know what to give you especially regular people sew them or talking you d'oh the more confidence building you get and the better the pictures are I want you to take twenty flowers pictures I don't want you to take two hundred and hope that you get two or three they're great by accident okay make pictures don't take pictures so all right you look amazing it's so pretty susan just amazing and the color tons of the background color turns into makeup the color turns of all of it is magically working together on this beautiful little bird so she has her hand here I call this the butt of the hand so I think this is the pretty side of the fingers the side when you shoot choose you never show the inside of the arch of the foot shoes are always sold out pretty parts on the outside two more things to think about your little bird and kind of get that underneath great push your chin out toward me your head down now think happy thoughts with your eyes but don't move anything when your face beautiful absolutely stunning you got uh awesome so I can use the camera meter right in my camera so color the magic of the color coming all together the control of what's in the shot that's what's making it so pretty so what do you think so this beautiful one picture and we're done so I'm not seeing a lot of the background so what I think I might do is backup from you a little bit so we should really long narrow face that would be asking myself about the lenses. I can't do this specially for here. I might zoom out to three hundred if she was long and skinny. Okay, tio tio actually fill the face a little bit. Awesome. Gorgeous. Going to scoot a little bit. This play my foot focusing point is right on her eyeball. Great. Jump in here a little bit beautiful. Turn your head toward me with your chin down and bring the bird right up to you. Roll your fingers toward me. Just ups it twisted can you kind of jump in and grab it felt almost felt beautiful and then relax your finger's been them just a touch. Beautiful, gorgeous. I think maybe the from the burn up a little bit there? Yes, like it's actually rest. Now just tip your head for me that way. Just a touch when you chin down toward me. Good. Small. Just with your eyes. Absolutely beautiful. Awesome. All right, let's, have some fun. Can you guys put the tilt shift on for me? So I like to change things up. I'll shoot, you know, ten, fifteen pictures that I think are great and then I'm like, okay, let's, do some different so some of you might have the limbs, baby I usually use a lynn's baby and try to work around f eight if I can, because the challenge is keeping the focus shark a lot of people like to shoot, you know? Emily likes to shoot with wide open eighty five I can't do that, I can't control how many shots I'm going to get in focus because the girl could do this and it might not be in focus emily's twenty I guess in her vision is better than mine. I can't on my jobs I could never take that risk, so my fashion shots were usually shot around f ate and then the person move. Most of my clients were happier tohave the movement in the spontaneity, then the child up to filled its trend miss in right now. But you want to make sure if you do it that you really care fall maybe even a tripod might not be a bad idea to me it's an option to crave option I don't want to shoot the entire shoot shell a few shots maybe so the till shift is a lovely way to do that I can basically leave my cameras the same and moved the focus point around where I want sometimes all focus straight out this is a twenty four millimeter tilt, I will focus on the face and knocked the bottom out of focus, and it has amazing result. The necklace will be totally blurry faced, tax sharp. So wherever the eyes are, has to be tack sharp or you lose your connection point. When you're making create shift changes like that so let's, try a different hand, let's have. Can you put the palm under your that's beautiful, yeah, lock it back down, so it doesn't move. Yeah, I can't wait for you to see that. Loading, loading, loading. All right, let's, turn one. Can you took for me, your head here, chin down, gorgeous, beautiful, gorgeous.
Class Materials
bonus material
Ratings and Reviews
william mazdra
Occasionally, things fall into place, and you end up with the kind of event that we just watched. It was marvelous to see these four amazing individuals contribute their own perspectives and content and to see them interact with one another. It was honest, brilliant and a must have to view many times over. One of the best courses on Creative Live and further evidence that Creative Live is going from strength, to strength and is worth every bit of our investment and time.
a Creativelive Student
This was such a great 3 days! Each one of those women are so inspiring in a different way. Sue Bryce is my absolute role model and it was a great experience to get to watch and listen to her. She makes her lessons relatable and very easy to understand and remember. So many small tips and tricks that will make a big impact on how I shoot as well as how I market! Thank you Sue. I had never heard of Lara Jade and Emily Soto before this started and I can say thank you to creativeLive for the opportunity to be inspired by two other amazing women in the photography business. The unique style and confidence they displayed was great to watch. I don't shoot fashion, but I was able to take good bits and pieces from it all. I am stepping out of my box... starting today! Thanks again to each of the women and cL for putting this all together. Kristin Campbell Journey Images, Alberta, Canada
Kim Sleno
As a participant in the live audience, this is a fabulous course, from Sue Bryce's honesty in helping a person to look within themselves to find your own motivation, her wonderful real examples of posing women, to Lou Freeman's posing for boudoir this is a course that will help a person learn a craft and where they might want to go. I loved Lara Jade's vision of fashion and how she has arrived at such an early age. Emily Soto brings a different dimension to fashion photography that is inspiring, from her use of vintage cameras to her editing skills. This is a course for anyone wanting to learn about photographing women. I highly recommend. Thanks CreativeLive !!
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