Lessons

Lesson Info

Shoot: 100 Poses in an Hour

And so this is our beautiful model today. Can Rose join me on set? Were you born in Seattle? Oh you don't have a microphone. Where were you born? In American Samoa. Oh American Samoa very cool okay. I'm gonna take Rose over to this corner and I'm gonna see how many posters I can shoot from her. And now are you nervous? A little bit. I'm really nervous. No pressure. Yeah no I woke up this morning and Simona and I here in the room. She goes how you're feeling? And I said well I'm gonna do 100 poses this morning. She says cool and I said yeah I've got about six going on in my head so. (laughing) I have faith in you. I'm glad you have faith in me. So let's go you can put that down. Oh Rose nice before shot. Now I didn't realize when you sent in your photo you had such long hair it's amazing. Can't wait let's go. Now the reality of the Sue Bryce Studio generally exists something like this. I never shoot with my hair down because it's impossible to shoot with long hair. I nev...

er shoot with shoes on. And generally I scrunching my face up behind the camera and I end up with no makeup on. So this is pretty much the dead truth of it. My whole studio is pretty much run like this and sometimes I'm lucky to even be wearing makeup by the end of the shoot. And I realized that you know sometimes you work for your money you're up down you're lying on the floor you get a bit dirty. You're on the wooden floor you drag yourself around. And I often look at myself after a shoot and I'm sweaty and I've got that little white crusty bit around the side of my mouth that you get from being on full state of sort of direction and stress and carrying on. And I look at myself and I think oh dear. Then I look at the girls that I'm photographing and they're all like this and I'm like well I guess it's just not about me. So as Simona and I always joke when we look at each other after the shoot sometimes we go and look in the mirror and we go oh no you didn't tell me I had a big black mascara line down here and we laugh. And we say it doesn't matter as long as our clients feel beautiful it doesn't really matter what we look like. So let's go. So sue are we, I heard something about we're gonna be counting down or we're gonna be thinking or. What's gonna happen as you do this challenge for yourself? Well the idea is I'm not, you guys are counting me out. I'm not gonna just machine gun. I'm gonna take my time to take as many gorgeous shots and poses as I can without changing her dress. I'm also not gonna move from this area here. So we're gonna try and stay within this perimeter of this corner V and just ottoman. We're not gonna change out the background. What we have brought in is we're going to put three flowers in her hair during one of the shots which I really love. Which will be very similar to the shot that's on that back wall. We're gonna put a scarf on one of the backlit shots. And we're gonna put a dress on it at the end just on the bottom of her dress so that she can move. And I've asked Rose to wear tights today under her dress so that she can sit comfortably and move through all the sitting poses without feeling like she's flashing to the internet and the camera. So as I'm shooting tethered obviously there's a delay coming up but I know when I'm usually generally happy with a pose. If for any reason I get a blink. I'm gonna take that off the counter and reshoot it. If for any reason I shoot something that is I don't like I'm gonna say stop the counter I'm gonna just change the pose a little bit and then I'm gonna carry on but the idea is that you just see the consistent flow. Now in a normal shoot what I would do is I would have four or five outfits. I would do something very similar to what I'm gonna do right now but she would change outfits maybe every time she changes from a different side to a different prop. So it's one of those scenarios where I'm gonna keep her in the same dress because we don't have time to go and change her out. So there is gonna be lots of shots in a black dress but you get the idea, you get the idea of the flow and it's about seeing an uninterrupted flow. Uninterrupted flow, say that three times but keeping it interesting. So obviously I need to let in some natural light. And we love the natural light that comes in to here. My preference yesterday when you guys were all in the studio with Simona was I was shooting with two big V flats and the light that was bouncing in this little cubby hole here was so beautiful. I don't have that luxury today so I want you to watch so Tiffany's gonna hold up a reflector. So obviously it's gonna be right here directing light back to us. Simona I just need a soft brush through the bottom of the curls just to balance it out. So before I start any client I always do the final shoosh, the final sort of prepare. And for me whenever anybody's had their hair curled the first thing I usually do is do a nice soft brush through the end of the curl just to get it going. I don't think I'll blow Rose's hair with the fan at all through this next sequence of shots because she has such beautiful hair it doesn't really need volume or it doesn't, and also because of the length of it it probably won't blow. Although that does take a few shots out of my sequence because I would add some close up hair blowing shots. I don't think we'll have a problem going through these. Alright this side come over here Rose. One thing Tiff. Actually let me start I just might be able to do it like this, no it's fine yeah. Sue let us know when you want us to start the counter. (laughing) I got this. Wow you're tall too. How tall are you? No don't apologize for being tall. Yes please yes be quick. Okay so even when I'm getting my first shoosh I always start preparing my client. I know that doesn't feel very solid but I just want you to actually turn your body towards me this way and I want you to lean back with the back of your arm. I want you to take all of your weight on your back foot. Swap feet yeah that's a good girl. And I want you to push your hip away from me this way to there. I want you to put your hand on to your thigh right there. I want you to bring it up and back. And I want you to turn your hips away from me. That's it all the way back, all the way back. Good girl stay there. Alright Rose is tall so I'm gonna get up here. Rose this is what I call, not yet. Rose this is what I call chin forward and down. All the way that's it stay there. Okay now not with your neck okay it's just with this axis here. That's it so I'm gonna say that to you so often it actually gets a little tiresome. That's something I'm gonna repeat over and over again. And I'm always looking for that nice long chin okay, long chin. Now another thing that I'm gonna say over and over again is I want a tiny little smile in your eyes. And that is, good girl, that's exactly right. So it's all about just having that little connection through there with me and then I'll talk you through all of your smiles okay so you'll never have to worry about what you're doing with your face because I'll always tell you what to do. So I just want to open this hairline up here because the most important part of this shot for me actually lift up and let me put this here. The most important part of the shot for me, go back down is that I see this beautiful line in here alright. Good to go. Let's flow. Is our hour just starting? Let us know when. Chin forward down, oh yeah. My God you're beautiful. Oh somebody put their 35 mil on my camera and I put the 24-105 on. (laughing) Okay that's odd, I definitely put it on this morning. I suppose somebody thought they were doing me a favor. In that second can you tell us again Sue why you choose the 24 to 105? I'll show you right now. I don't have to move and I can get different compositions. And so right away from here keep that hip putting out and bring that chin all the way around to me there good girl. Okay Tiff you've got to keep the bottom of that reflector out because I don't have time to change that up so just keep it up there, thank you very much. So here we are from here. What I want you to do Rose is give me that gorgeous little wee tiny smile in your eyes good girl. Absolutely perfect. Two, three, four, how many tickers do we get on the tether? I just need to know in terms of changing her up. Okay so I get about five seconds loading on the tether. We're good to go, do we like that? I need feedback and I want talking. So tell me what you like okay. Tell me if you like it tell me if you don't. This is why I use the 24-105. Straight away, straight away just keep it down. Straight away I didn't even have to say anything to Rose. I'm here already she's there already. It's just a universal language. From here what I want you to do Rose is just bring your chin down a little bit more towards this way stop and I want a real little smirk in your mouth, just a tiny little smirk. Straightaway I can get a second shot that is absolutely amazing just by using my zoom by coming in a little bit closer. Okay what I want you to do now is I want you to turn your body away from me just a little bit more and bring your chin all the way here. Stop drop that shoulder down. And beautiful little tiny little smirk. That's a girl stay there, stay there, stay there. I'm just waiting for a blink Rose so don't you just blink naturally, that's it good girl. I can come up here now what I want you to do is I want you to stay there don't move. I want you to keep this knee forward tip it around this way and I want you to hold your elbows across here. That's it so this one goes underneath and I want you to work the shoulder towards me this way good girl. Stay there. Chin down just a little bit stop. Perfect. What I want you to do now is I want you to put your hands on the wall like this, that's it. I want you to turn your body away from me a little bit more and now what I want you to do is to kick your booty back like this so stretch it back. That's the one and I just want you to look straight down your body line so look at me Rose. I want you to come down on your breast line and then straight down your body that's it don't move. Nobody's talking to me. Okay from here what I want you to do is roll up that's it onto your side stay there. Lean against this arm I want you to kick it out like this push it out that way put this hand onto your thigh. I want you to slide up and back and I want you to drop your shoulder down. That's a girl stay there. I'm gonna open up. Never, I'm shooting on manual. So the internet is saying I wish I could shout out to you Sue LOL. And that's what Loraine and I are here for. So give us your shout outs and we'll shout out for you. I want to hear what you're saying. Kaychil says that she's beautiful. What me or her? Okay bring your chin all the way around to me now. Stop right there good girl don't move. Patricia Nate says I love the look that Sue captured with the model looking down her body. Tiny little smirk, good girl beautiful. Okay from there what I want to do is I want to go let's bring some arms up, oh see no monopod. When I pose with a monopod I have to put my camera down. So it makes life a little bit different. Okay what I'm gonna do now is I want to bring your elbow up into here. So you can come away from the wall Rose. That's it, and here just lean it up. That's it okay put this hand behind. So Tiffany can shoosh her. Now what I want to do is I want you to lean up onto this foot so I want you good girl. I want you there and I want this hand behind your head. Now it must grab a bunch of hair and lift up because I don't want it to just be, that's exactly right. I want you to turn your chin around to me now stay there. That's cool don't move. And I just want you to lift up nice and tall through your neck and shoulders a little bit up in your chin bring your chin this way tip this way stop. That's it okay now I just want you to relax your mouth. Okay kick that booty back a little wee bit more good girl. I want you to bring this hand up and I want you to sweep across you two collar ties to about here. So just bring your chin this way. That's it don't move. Okay kick that booty back Rose. Lift that chin up to me real model pose. I want you to lift up really beautifully. I want you to give me that chin and just relax your mouth. Good girl right there. Sue I'm just amazed at how she's like-- Sorry blink. Dough in your hands after just two minutes. So I want you from here to put your back against the wall. Just give her a shoosh Tiff. Can somebody sit down here at the floor and just hold this when Tiff let's go? Otherwise I have to stop it it's gonna slow me down. I want you to put your hands on the wall. I want you to lift off from your upper body. Okay so bring your hands with you don't leave your elbows back. Lift off with the upper body and now turn the shoulder away from me that's a girl, perfect. Okay open her up through her cheek line yep that's it. Sue Ragland says the tiny adjustments make a huge difference. It's awesome to see it first hand. Nice and long chin around this way. Here we go here so I need a little wee smirk here. Gerdy says amazing how she already has that connection with model. Now I want you to bring that chin forward a little wee bit more that's it. Now I just want you to really give it, good girl good girl. Stay there, stay there, stay there. Okay now just bring these hands up again exactly hugging the body now this elbow comes back. Push that shoulder forward okay eyes down and okay too huggy with this hand here I want you to go underneath. That's it good girl, good girl. Okay now work that shoulder forward And what I want you to do is drop that shoulder down, chin around to me now and beautiful big smile at me go. Look at me. Okay fabulous. Alright from there I want you to give me one, two, three, four, five. I just want you to come in turn around this way swap it out yeah, flick you hair over this shoulder and bring the other side forward. That's it good girl, that's beautiful. I want you to turn to this window here. I want you to put your hands here. That's it bring her hair down in back Tiff. I want your hands to go just under your breast line So about there that's it. And I want you to kick one foot out like this so that's it, there's lots of shape into your bum at the back. I want you to bring your chin all the way around to me but I want you to lean towards the wall. That's it now bring your chin around a little bit more. Now bring those hands lower Rose. I want to believe that they're there for a reason just to work that shoulder, that's beautiful. Good girl there you are. Okay from there now what I want to do is let open this up a little wee bit. Stay there. I want to bring your hands to here. I want to lean back that's it. I want you to open up your shoulder towards me this way a little bit more that's it stay there. And I just want you to bring it stop. Okay I just want to shoosh here. Do you find that that black skin tight shirt helps? Pose? Yeah to see holes to see spaces between the extremities and the wall as opposed to something flowy. If it didn't I would be tucking it in. If it didn't I would just tuck it in. Yeah I just wouldn't leave it out there, there's no way. Okay just because I find more fitted clothing looks more flattering on anybody type even curves. Just turn towards me now before I move on and I just want you to hold your elbows again in the front so turn right towards me. Give me a lean straight in and just kick out. So I want the hands to be flat and low good girl. Lots of shape into your booty so really kick it out that way you've got it long chin towards me, not that far. That's it perfect stay there. And put that thumb down Rose that's a girl perfect and chin long forward and down you got it. I need that with a beautiful big smile. You can show me those braces. 'Cause Rose has braces. But they're invisible braces so you can't even tell which is absolutely amazing. What I want you to do from there is sit down on the floor. What's my counter? You're at 14 shots with I'm not sure how much time to go, 51 minutes. And let's see Eric, Ecrew online says that side post is marvelous. TY Daily says already so inspired. Sue Bryce is amazing. Look at that window light I loved her mirroring. Okay so the idea here is when you tell people to sit down generally everybody does exactly the same thing. And that's exactly how Rose sat down right now. Everyone kind of tucks one foot. No keep it up there it was absolutely perfect. And what I want you to do is to bring your elbow back this way so I just want to open up this pose. Bring your knee up a little higher which will bring your arm back in and just work the shoulder towards me good girl don't move. From here. I broke it? Damn it. I said I wouldn't break it. Damn's not a swear word. Okay shoulder forward and chin all the way around this way. Okay so what I want you to do is lift up tall through the back and neck of your shoulders because you're getting too down like this, good girl. Lift up nice and tall and bring the shoulder back to the wall, that's it then bring your chin down to the shoulder stop, reflector. Okay bring your chin back this way just a tickle. The idea with this shot here is I can make it look My cameras says busy. Jim Morgan in images says Sue you make it look easy. I can't wait to be as fluid as you. I got no tether. Another, and Dijon loves how Sue uses the mirror to pose her. Anybody can mirror too it's one of those things that sometimes when the boys mirror the girly poses it's even cute as well. And even the girls that aren't necessarily really good at the sexy poses they can still mirror them. I imagine they'd be laughing more which would be great with laughing. But serious poses whenever I'm trying to mirror them might be more difficult. I think it's got that sort of vibe. From here I'm just gonna go straight up and just use my zoom and work that shoulder right up into the image more forward than up. So you work that shoulder forward that's a girl. You can pull away from the wall a little bit for this one. That's it so as long as that shoulder comes all the way forward and then your chin comes this way. Slide your elbow back to the wall and that's it because it gives a better line on your shoulder. Bring your chin down this way. So tilt, give me a tilt this way and bring your chin this way stop you got it. And from there I can come in nice and close to here. And I want that beautiful beautiful little smirk Rose. That's the one right there got you. Okay from there what I'm gonna do is I'm gonna get you to drop your knee down. Nope so bring it towards me. And yeah that's exactly right. This hand goes onto your thigh and slides back. I want you to bring your bum away from the wall just a little bit to scooch it more, more, more. Now lean back with that shoulder. So you can keep that hand there good girl. I want this hand onto your thigh slide your elbow back. That's exactly right and just gonna bring this forward. And I want you to bring your chin around to me this way. Okay not that far. Turn your body away from me a little bit more and bring your chin back stop don't move. Okay so from here I can shoot down two. And then I can hang on. Quite dark down here I'm just gonna up my ISO. Okay bring your chin around to me a little bit more. And there it is okay. So now what I'm gonna do is I'm gonna get you to take your body away from me. So don't move your upper body just turn your hips away a little bit more stop but keep your knees down. So sit up nice and tall, sit back so that's a good girl. Hand goes onto your thigh, chin comes around this way. Stop don't move. Okay from here I want you to work this shoulder forward a little wee bit in the front. Good girl and beautiful smile there we got you. Okay from there let's bring a box in. Yeah I think what I'll do is if you sit side onto me. Just wait before you put that box in. If you sit side on to meet Tiff, Rose, sorry Rose. I often do especially with teenage girls when I shut down the body language I bring this knee up in the front so you can just bring this knee up and just cross your arms over it this way. And I use the wall still. So you bring your foot towards me which make it easier yeah. And just use both arms into here and just lean against the wall. So just find your groove. You can put that under there if you want if it's more comfortable and just use the wall this way. So if you turn your body, turn your face this way that's a girl and give me a little bit of a tip here. Alright so don't want that hand towards the camera. Never want that hand towards the camera so we'll always turn it sideways but we must keep it relaxed okay? Ballet hands at all times. Lifting up nice and tall through the back of your shoulders elbows in, that's a girl and then nice open up through here. And as soon as I find that nice open look there then I've got it perfect. I want chin forward Rose, that's exactly right and a little smirk there good girl that's beautiful. Okay I want you to turn your body and your knee away from me a little bit more. And I want you to bring your chin, that's it stay there. Okay what I want you to do now Rose is I want you to bring your chin in a little wee bit more with the shoulder forward not up, forward. That's exactly right and I want both hands just going straight out over stop. Okay and now work this shoulder good girl. That's just perfect. And I just want you to do a beautiful smile there. Right there let it go, good girl good girl that's amazing. Okay from there let's get that box in, or actually no. Before I would move on to any prop I would take you away from the wall. So I just want you to sit forward about half a foot because I don't want to always be leaning on the wall so come forward a little wee bit more and the first thing I'll do is I'll sit like this. So can you mirror me and sit like me? That's right so I want both hands to be here. And you can touch them down. I want the hands to be here so that you can control this front shoulder and move towards me. Shoosh shoosh. So I want to always make sure. Can you take those off? Okay so I just want to make sure that I have this movement. So the knees aren't really relevant to me at this point but what I want you to do is turn your body this way a little bit that's it. Soon as I get that shoulder I can feel that pose then I'm gonna get you to come forward with your upper body. So don't do that okay so you don't push out your elbows. You just bring them forward forward forward and then work the shoulder for me. Okay and then I can get more of a sitting shot. 45 minutes. Okay give me a tip this way and chin this way. Chin down, down, down that's it stop. Okay good girl eye, blink so. Is this a pose for any body type? Can we talk about that in an hour? Okay from there I want you to go straight back against the wall. So just pretend that that's a wall. You might need to, yeah you won't be able to lean on it. Okay and straight away I just want you to bring this knee forward yeah. And I just want you to do young girl pose. I just want you right up in here. Okay just let these hands go up and open your knee. Shut that body language down good girl. Long chin towards me and down perfect. Can I have a reflector? Talk to me people. Sam Cox says it's very interesting that she's talk talk talking all the time. Never for a second does she let her model wonder about what's going on and why. Okay bring your chin around tilt this way. No not too far so bring your chin back. Okay it's like a heel palm on to the neck so just put your hand out that's the one. Now bring your chin down this way. Okay but pull your hand away from your face because it's all about the face. That's exactly right so let this hand go across a little bit more, point your toes. Always point our toes drop your shoulders down. That's it long chin towards me. Towards me with your chin good girl and I need that gorgeous little smirk right there. Good girl stay right there. This is something else that I have to focus on too all the time is straight away remembering just to turn my camera this way because I can get such a different look. Come back to this side very very quickly. Turn around this way yeah stop lean back against the wall. Come towards me, sorry go back go back. Stay there stay there, yeah good Tiff that's perfect. Just let your legs come forward and I want your bum to come forward a little bit more good girl so that there's a little recline. I want you to bring your chin around to me this way stop. When I do all of my poses I so often get stuck in shooting portrait. Just bring your chin towards me Rose and down that's it. And as soon as I get her into this pose here I remember how powerful it is to shoot horizontally and I just love this whole look. Also you can do something like eyes down. So eyes down your own body line. Now when you put your eyes down your own body line Rose I just want your chin forward like this and I want the eyes to go down your body line and I want a beautiful soft mouth so just completely relax your mouth open that's a good girl. Perfect don't move. Got you there. And I always do a beautiful makeup shot or looking down shot remember to eye lines for me one is in the camera one is looking down at your own body. Don't really see the point in doing anything else. From there I bring the box in. And what I do is push it straight to the corner and just do something funky sitting in the corner. So sit down on the edge. And I want you to put your feet apart and I want you to put your hands between very similar to how you were sitting down before. This works for just about any outfit it looks good. Especially looks good with the young girls. Just looks quite funky and you can still work this shoulder forward and you can create an image in this corner which looks really good. That's enough Tiff. Okay I need you to lean forward so you need to push your bum back. That's exactly right and then maybe bring your chin up halfway and maybe down halfway and just relax your mouth so real relaxed mouth. Good girl that's absolutely gorgeous stay there. Okay wait till they get a blink then. You're at 27. Woo hoo, woo hoo. Okay from there step up I'll bring this box out. There's so many cool things I can do on a box. When I see a box I see 100 different poses. First thing I want you to do is sit on it. Okay and you can sit on it like this and anything, any outfit in jeans in a young girl anything like this I think you can start right here and you think it's just so informal but the truth is something this simple is just it's editorial fashion. And I just love it. Okay give me a reflector. Long chin forward and down. So the biggest thing I have to do here is bring her elbows into her body. Okay so if the elbows are in then her waist is tapered. I need you bring your chin towards me good girl and down. That's exactly right. This image is gonna be about two things for me. It's gonna be about the connection that I have in her face and the little asymmetry that I'm gonna shoot it off to the right. So from here I can bring one knee up and you can hug your knee that's it. 40 minutes. Say again? 40 minutes. So you can wrap your arms around here. Why don't you swap your feet out so that that one's on the inside? No yeah up underneath, yeah that's exactly right. Point toes so you can point your toe off the edge. Hug your legs okay lower, lower lower lower. Hug it down that's a girl beautiful. Long ching this way, don't move. Okay I need you to bring that knee across to the center stop. I need you to make your hands more feminine by putting this one on your elbow and this one on your leg. I need you to point both your toes like a ballerina and I need your chin long and down. Okay so first thing I want to do is open that up there. Pull this way a little wee bit that's a girl stay there. Is I want you to tuck that down good girl Rose. I want you to push your chin forward and give me a tiny little smirk here, that's the one. From here I want to use the same pose wrap that arm around and I want you to fall this way. That's it stay there stay there. And I just want you to really engage your expression here. I want you to give me chin forward and down that's beautiful From there I want you to come back to here. I want you to bring this hand up into your hair. Okay so just up until your hair right there put it in. So just into your hair. That's it but bring your chin back into the image. Now wrap your arm around this leg so bring this knee across right your knee, just your knee stop. Put your hand down yeah that's exactly right. And I need your hand around lower in your neck. Not like you're talking on the phone. It's really important you don't talk on the phone. Okay long chin, point toes. Long chin, long chin point toes. I'm getting tongue tied. And working this shoulder. Good girl that's beautiful stay there stay there stay there. I love that give me a beautiful big smile here. Okay from there I want you to sit up onto your knees this way talk to me people. How am I going? Really? Barbara said just went and got the credit card. So buying this. You're at 37 and a half minutes. Point down so I want the toe to go over the box. Makes life so much easier when it's pointing right down over the box that's it. Especially when you've got long legs like you. I want you to bring this elbow up to here if you can. That's a girl perfect perfect perfect. Off her face Tiff. And I want you to bring your chin all the way around to me this way stop don't move. Chin around a little bit more don't move. Okay from there good girl there you are. Okay then one thing I'll change about this because I don't like it is the back of the hand is into here. So let's bring this chin all the way around here, more more, work it, that's it good girl. Sabrina Nicole says it makes me want to grab my camera and clients ASAP. Chin forward and down good girl don't move. Okay I need that beautiful smile Rose to just really that's the one, make that shot rock. Okay from there I want you to bring your feet off and I want you to sit away from me that way. So I want you to sit just with your bum on the box and I want you to come to the edge and I want you to face this way. Bring your bum back to me that's a girl. Okay and now what I want you to do is put all of your hair on this side is I want you to slide your bum back, no that way good girl. And I want you to put your right hand can stay down your left hand in the front I want you to slide it back And I want you to keep it flat onto your thigh, elbow in. I want you to lean forward that way and now I want you to turn your shoulder away from me until you look back at me. Okay let that down so people can see. I want you to turn all the way there that's it. I do move people's heads if they can't get if they can't find the position I want. I don't mind going up and just moving heads. Alright let's go. JL JJ LD says dear God in heaven this is so helpful. And Natalie Dodo said I loved, or Natalia sorry. I love that crisscross applesauce from earlier. Beautiful this is when you relax your mouth and give me that supermodel mouth. (laughing) That was just beautiful good girl. Okay even more and this time what I want you to do is even wrap this hand around you no other one wrap it around your middle that's it and just work that shoulder away from me. So wrap it around there push that shoulder away and give me a tip this way Rose. That way a little bit more. So almost like you're using your hair that's the one. Now bring your chin around, beautiful. Okay give me that beautiful smirk. Audience anything? Yep Fifty Cent Love says this is worth thousands of dollars. Yasmine says as soon as this is available on download I'm watching this one hour on repeat. I want you to kneel behind the box. The idea is that you come over here that's it and that I see the side of your body on the box. So I want you to lean onto the box this way that's it. I want this hand in I want this hand over and I want to be able to see the shape of your body line. Good girl, so I need you also to be a little taller. So I need you to be up onto your heel and your bum. That's exactly right I won't see your legs. So the idea is that we're working these hands here. Simona I need a brush out and okay we're good to go. Time? One second, 33:57. Stacy revisit says not just a photo of the pose. She really talks about what she tells the client to get them there and why. Beautiful, okay from there straighten your head up to me. So always kind of do this thing where I mix up the composition just a little bit and I want to change out where I'm going. But before I get out of the pose I kind of try and nail not two different expressions but two different looks. Like for me that was friendly sweet smiley. Now this is what I call that more supermodel so from here you go to here. Okay elbow back, that's it. You push that box out just a little bit more. I make them move props too. Okay that's it elbow goes under here and here triangle good girl, relax that hand. Okay this hand goes under here. Slide it back elbow back, lift up very very tall. Okay chin towards me. Straighten your head up to me this way. Okay chin back this way good girl good girl. Now lift up tall relaxing mouth, real supermodel mouth. This is where I want you just in here. And you've got to really own this look because this look is so fierce it kind of has to be there. It has to be I'm gorgeous I know it I'm a model. All true. We just got a little bit of a Thunderbird going on here. Okay shake it out ballet hands. Good nice relaxed hands. Straighten your head up to me bring your chin around relax that mouth, own it good girl that's beautiful. Lift your chin up half an inch woo hoo. Okay from there I do a lean I do a recline. From here what I do is very similar to what I do in a standing pose. I turn this 45, put your elbow on there. Put this on the inside. I want you to turn your body this way. So I want you to create an hourglass that take your bum away from that box. I want you, there you go, I want you just on the elbow on the edge here. I want this hand to be the edge sliding back and I want you to tune 45 more. I want you to bring your chin around hair at the back. Stacy Reeves says it's funny how Sue pampers her clients and treats them like royalty until it's shooting time and then she works them. Maurice Berg says I love the natural way she includes chin, shoulder, hands, hourglass. Yeah yeah yeah stop. Now I just need you to work that shoulder forward good girl and I'm coming down on this angle here. And I need chin this way. And I need a gorgeous big smile here. Gotcha, absolutely beautiful. Alright from there let's take that box out. No first thing I do actually I haven't got a cushion so are you gonna be okay kneeling on this? Something I find, yeah you kneel up there for me. Something I actually find works really really well is I can't often get people to freestyle a pose standing up on your knees, so come right up. I can't often get people to freestyle standing. So if I kneel them on something it's quite weird and then I turn them this way so it's like a scissor. Okay you can actually scissor your legs this way and literally over that way 45 degrees more, more more. Okay stop let's put this ottoman in. It's gonna be softer for you. And turn it sideways. Making triangles with her body all the spaces seem to be-- I'm always trying to make triangles, arch your knees. The triangles are about filling the frame. Whenever I turn into a triangle whenever I turn an arm into a triangle it just fills up the frame without the legs. That's a girl so from here this hand goes to the back and turn it around this way that's it. So bring your elbow up to me. So that's probably the biggest mistake I make, I see people make is they're holding back this elbow or they're pushing this elbow forward. The idea is that the elbow sets square to the camera and that you can create a triangle off the back of the body and create that beautiful line. I need you to have a long chin and turn this way that's it. We can't shoot you getting weaker. Okay from here I take this absolutely gorgeous. Don't know I just want that little wee smirk. Okay I want you to turn towards me more. That's it so you're straight on to me. I want two triangles I want yeah lifting up really really tall through your neck and shoulders and push your chin towards me and down. Don't, yeah I'll get it just a twist back. So lots of shape through here. This is where I'd put a fan in here. Sorry I'm just gonna make it nice. Audience, my audience, my students? Clinton Photography says the way the natural like light looks with addition to the reflector I think I need to knock down one of the walls in my studio and place a bay window in it. Everyone's talking about how gorgeous the light is. Knock it down tonight. Knock it down tonight. And you're at 28 and a half minutes at 40, 42 poses. Going too slow. Okay from here just see if we can just work something really simple. Just put this up now top of your head, that's it. Now if it's gonna go on the top of your head it has to go to here because it has to be real. That's it now it has to turn all the way over. That's the one and it has to kick out this way as far as you can. So I want you to kick your booty out that way more, more, more. I want you to grab here and lift up because I don't believe it. That's it I want a long chin, straighten your head up. I want chin this way, go back reset. Chin this way first. Okay and then go long chin towards me here. Push it out and down that's the one. Now I don't believe this so I want this. I want you to grab some hair that's it and I want you to push it forward here and give me a slight tilt this way. So you've been saying over and over it's about creating the body language and I think I've been so focused on nailing poses. And just watching this unfold I'm so, I get it it's like a big aha for me. Yeah you know what I see it all the time. Like this is not working for me so instead of just shooting it I'm gonna move on. If I don't believe it I just, I'm not gonna keep doing it. Okay step out. Well you even told her it's move your hands so that I can believe. Work the shoulder so that it's believable and that's just. Turn this way. Yeah I need to believe it. So I'm gonna say that to her, no no no in front. I'm gonna say it to her because I want her to understand. As a client, so put your elbows on to here. As a client it's more important to me let me bring it forward. It's more important to me that she understands what I'm doing and then she can give me what I want. So the idea is that you're gonna use your thighs. You're gonna lift up here. Okay so it's not a bum in the air shot and it's not bending forward. I want you to kind of hover and you should be up and over your elbows, yep so elbows down, elbows down. And I need you up and over your elbows nice and long. Then what I do is I'm gonna push one hand through. Okay and I am nice and tall lifting up through there. Long chin towards me now and down. Straight into this backlight I need a oh I've got cramp. Okay I want a beautiful scarf in here Tiffany. So I'm just gonna break up this black outfit black hair and especially shooting into the white. Give me that hair on the side. Just something colorful on the neck. This is what I deem more as a beauty shot. Just pull it through don't have it hanging that's it. So it's more like a necklace. I just want to break up that sort of black on black. I want to break up with just a little bit of detail. I don't put too much detail in my beauty shots because I just want them to look simple and more Estee Lauder and less sort of anything else. PG Dunlap says how incredible to know every second how to move the model and never stop. Chin up that's it don't move. Okay I've got two options here one of them is I'm absolutely love love love this. Tiffany I'm getting like a glow up. So I don't want you to do that. I want you to come down that's it. Okay so for me I've got two options because I also bring your chin this way. I want you to stretch out even more don't move. As soon as I see her body line come in from the right hand side of the frame, chin forward and down down I want to bring it straight away to landscape because I want to include that booty this way. I also can now work the hands and hair so bring this elbow forward and bring it straight up and in that's it and into your neckline here don't move. Okay now I don't do a lot of moving around her now. All of this shot for me is shooting into that back light and it's about shooting with direction. I can move her, soft ballet hands good girl. I can move here along the ottoman so you can be along here. Good girl don't move stop, lift up tall through neck and shoulders give me your chin. That's it don't move. Keep talking to me students. So Kay Sinyoco for those who think that expensive equipment and a huge studio is everything get Sue's workshop and find a corner in your apartment and you're all set, so motivating. Forward chin down stop, absolutely beautiful. I need all this hair let's kick all the hair around so she can use here hair. Use people's hair it doesn't matter if it's short or not Put your hand up into your hair. I look at it like this it's a comb it goes up in and it pulls out that's a girl. Then it gives me volume and it gives your hand something to do that's real. Then you have the option to work the shoulder in the front. You can bring your chin down a little wee bit more and what about my students here? Nobody's talking to me here. What I'm noticing is that you're able to notice every point of the picture every detail, the hands, the shoulder everything all at once. Bring in your elbows yeah. And I'm only seeing when I'm shooting I tend to focus on one thing like a shoulder and a chin and I forget the hand. Okay so what am I gonna change to now. I think I'm gonna bring you in the front. Bring me there. Actually some hair stand up. I did this just recently shooting into this flare. It's just so beautiful and we just have this perfect opportunity so put a flower in her hair. Right now what I want to do is obviously you can see in the camera behind me camera there. You can see where Rose is in relation to that window. I keep flowers yes, I keep flowers sort of there should be a third with a clip oh yeah that one. No we'll just do this one I think I don't need a third. I kind of keep flowers like this just to do beauty shots. Some people take them some people don't. I don't put it on everybody but I like this idea that you can add something to the shot. Particularly too when you're shooting into the backlight with black hair. And I don't get a lot of chance to do it straight up into the light. I want to chin forward and down. This to me is not really about her arms or body or anything like that this is about her face. Okay so tilt this way chin towards me. Okay straighten up reset. Okay so when they start to move like a Thunderbird you reset. So reset long chin forward and down. That's it don't move perfect. I need you to push your chin forward and down Rose. That's the one now I need you to relax your bottom lip. And I'm gonna shoot straight into that light. So I don't really have a lot of reflector here. I would normally have two big reflectors here and here. The idea of this shot is I really just want it to be a face beauty shot. I usually shoot at about 2.8. I make sure I put lots of nice light flare in there and balance that nice and beautiful and light. The more flare you get then obviously the brighter that looks and it's absolutely beautiful. Now I want you to do one thing for me. I want you to put your hands like this which is the weirdest position and then I want you to pin your elbows behind you. And I know it feels incredibly weird. But it looks very beautiful and I want you to flatten your hands out and pin your shoulders here. Now you can only do that by putting your hands out. And what it does from the front is push your chin forward is when I get this shot so when I nail it her elbows are tapered right behind her waist. I want you to drop your bottom lip like this. No just relax it and just chin down but you've got to give me let a little wee smile in your eyes. And if it's slightly asymmetrical then I can get into there and it just looks like the waist tapered and you don't you can shoot anybody front on with the elbows back and it makes such a difference. okay from here I want you to bring this hand up into here. Okay elbow across, I want you to just cup your face. So it's like a cup good girl. Now this hand here goes back to this position. Okay so I just want it tucked away. That's the one long chin and you sit into your hands. Right don't move, straighten up. Okay and then relax your mouth. Good girl there it is. And I don't mind bringing hands up there 'cause that's not gratuitous hands. Lips together, chin forward and down. And I just want a little smirk. 20 more minutes at 54 poses. I could shoot so many different shots there but we'll get we'll move on. I'm just amazed that it was such a subtle change and it had such a big impact in the photos. Bringing the hands up makes such a difference. I don't mind shooting back to a window like this either when it's even cutting in. I've got absolutely no problem having a window like that because to me playing with this sort of light I kind of look at it like this. If you kick a hip out this way make your elbow go forward and this one down and this one halfway. Okay push back so you're relaxed. Now push your chin forward. So you notice straight away when people start moving like I don't mind putting it into a window half like this as long as, okay relax leave it. As long as you can relax that mouth I'll go straight up into here. Sorry blink. Okay relax those eyes for me Rose because you're getting too starey. That's it and I want you to bring your chin forward and down and I want you to relax your mouth there. Good girl that's the one. Okay from there how we going? I like how you used those ottomans. Okay push this back Rose. First thing I'm gonna do is use a wall and use an ottoman as a prop so sitting down there. I've got lots of options here. I can use it as a bedroom. There's a bed there I want you to sit back and I want you to bring your knees forward. So I want you to do a crisscross point toes and I want you to use your hands here. Toes forward, okay from there point toes. All toes must point, that's it. Okay now from here first thing I want you to do is put this hand here and then cross this one. I want you to bring it to the back of your knee and if it's higher than the boob you bring the knee forward. Okay from there sit up nice and tall. Turn your shoulders towards me more. That's a girl and bring your chin towards me. I've got a completely different look now 'cause I've got two possibilities. I can sit right here and start coming I start coming across from the right side. I want you to work this hand across and that's it. See what you can't see is the shape of your body 'cause here here's long. So I'm gonna put that there so you can see it. Long chin towards me Rose forward and down. Good girl relax your mouth. Give me those beautiful eyes there you go. Perfect, sorry my exposure was a bit down, let me just get that again for you perfect. Then I start moving across. Another thing I do is I go straight away to my horizontal. Now I bring this elbow up and it doesn't have to go to the neck every time. You can try it, put it into he neck because I have cut the face twice. Back a little wee bit okay back to about here. Now sit forward with your elbow then that's it. Now bring your chin forward. Now just stretch your fingers out so it's more like that and now bring your chin down into that hand. Okay I don't want to be cupping the face too much and you do get guilty of doing things like that over and over again so what I can do now is I can get you to grab your hair that's it and then just sort of brush your hair with your hands to about there. Like take your wrist out, stop. And now chin down and then I can use her hands in her hair. Now do that with a beautiful big smile. Good girl that was amazing. okay I can cross both hands up so don't move too much. That's it I can cross both hands up but I don't want to see the back of the camera So you can just keep this one out. Drop shoulders down okay good girl, ballet hands. Dropping shoulders down made such a big difference. Lift up nice and tall with your neck and shoulders. Bring your chin down towards me tip this way okay. But I want to keep it soft around her face so I'm always gonna bring this back. I want to open it up around the cheeks and bring it down around the shoulders. And from here I can just go through a whole series working the shoulder forward again and move around into the back light and create some vibe along here, beautiful big smile work that shoulder Rose, absolutely beautiful good girl. Okay from there what I would do is stay, oh you can scooch back a little wee bit. I often use a couch, no that was fine go back. Pamela Dee says love watching the models hands relax as soon as Sue says soft ballet hands. Yes turn this way turn your back to-- 62. Okay stay down. I want you to bring your hands up on to here. That's it so I want to use the body and I also want to use expression so sometimes the most beautiful expression comes from being in here, that's it. I like using any props that my client can recline forward or back on. It doesn't matter which way it goes as long as they can come forward or back. I can shoot her this way give me that smirk. That's it I can shoot it this way. And I want beautiful relaxed hands push them out. But either way what I want to do is she has to be able to lean on something because if somebody's just sitting upright they simply, you just simply can't take a good photo of them filling the frame. Bring your chin down to your shoulder. Bring no, bring your chin down bring ah good (laughing) Bring your shoulder up, my lips are sticking together. Okay I love that little smirk good girl. From here I can push this away. No don't move you stay still. So from here I can push this away and what happens now is when I start pushing furniture away from people they recline more so lean forward. Now bring this hand up into the inside of your shoulder. Yeah just there now bring your chin down to me here. Now I'm really intimate because I've got a 24-105 arm but I'm right up in here. And give me a gorgeous smile good girl. Now take this hand out and put it behind your head and bring it right in here so work this shoulder. That's the one, I don't know off. So work chin forward now okay more more more. More more more that's it so it comes forward but out. Don't move. Okay and now because I've got her reclining I can just pull back, bring your chin forward a bit more. Students? Chin down chin, chin down, chin down, chin down, chin down stop. More smirk work your shoulder up. Good girl, students? Did you coach her at all on facial expression before the shoot? No. Okay so from here jump up. So I think we're honestly just in awe of how you're flowing through this and you're able to get 100 shots. JL JJ LD says constantly opening the hair to the face, I have to remember that. Yes that is the big secret for me. And you know there's certain things that I do that I don't know that I do until somebody says something like that. And I know I teach stuff like that but I don't realize the significance of it. until I'm doing it all the time. Okay from here your elbows stay still and your body pushes back, that's it. What you do then is your right hand stays forward. Now I very rarely say right hand because people get confused slide it over here, I say mirror. Put this one over here, I call that little cat. Lift up nice and tall through your neck and shoulders bring your chin down this way stop. Bring your shoulder forward to meet it. Beautiful don't move. Well Mom 10 says no more excuses for having a small space, I can do this. Anyone can do this. Long, down good girl, stay right there gotcha. Also I have the opportunity now to lift up nice and tall. Bring your elbows towards me. Walk them over, walk them over. Lift up tall take your elbows back to your body. Turn your hands down, ballet hands. Lift up tall through the back of your neck and bring your chin forward and down. Get there if you dare me to. And I have the opportunity to just turn it round this way. Bring your chin this way stop and then sorry blink. Now chin around this way, lift up tall. Relax your mouth, right up through tall shoulders. Cross your ankles didn't your mother ever tell you that? Good girl don't move. Okay from there work that shoulder forward good girl. Beautiful smile there. Okay from here scooch your elbows out to the other side where they were before, you can bring this one in. This one elbow out no, yes good girl. Bring this elbow back stop, bring this elbow around. That's it. I want you then to lift up tall bring your chin around to the shoulder so forward and down that's the one more. This elbow can come back a little wee bit more. That's the one now just bring your chin down to me now more more more, okay now two things. One of them is stay looking at me like that because that is absolutely beautiful and I just want to shoot that. And then the other one is I want you to keep your upper body still I want you to lift up with the back of your hip and bring your knee forward. That's it stop. So that just gives you a beautiful shape in your booty then what I want you to do is just look down your body line so your chin goes to your shoulder and your eyes go straight down there. So Rose I want you like this okay. I want you to look at your own body. So eyes straight down your body line and give me a tip this way, that's the one. Hands nice relaxed ballet hands good girl. And then tipping down looking down your own body line connecting that front shoulder. Good girl bring that shoulder forward, that's the one. Okay from there I want you to put this hand behind your head. Slide back 'cause you're getting too long for the ottoman. Bring your elbow out to the corner put your fingertips behind here and then work this hand out here. If you keep your elbow back towards your body it will lift your boobs up off the ottoman. That's it 'cause I need length from you right now. And then what I want you to do is lift up through your neck and shoulders and I want you to bring your chin down to the shoulder. I want you to bring that knee up a little bit more so I get more action in the booty, that's it perfect. Long chin push it forward and towards your shoulder this way and I want a gorgeous little smirk, that's the one. So from there I'm gonna keep you on this don't move. I'm gonna move this. Nine and a half minutes Sue. (laughing) I'm gonna need an extension. Keep it up keep it up. What I want to do is I want you to lift up nice and tall. I want you to cross your ankles and drop them down. That's the one I want your hands to go here elbows together that's it okay and I just want you to lift up really really really tall. Can I put a blocker, where's the small reflector? I'm getting too much light. I just want to blocker in this corner. Okay from there, cool. We never know what the lights gonna do. Okay your elbows must come into your body line good girl. Lift up nice and tall and I just want your hands to go away from the camera. Lift up tall through the back that's it. And I want you to come forward so lift up at the back good girl. From here I do a series straight off the end of the ottoman and I want them to be more relaxed so if I feel like they're not relaxed then obviously the problem is I need to get her into a more comfortable position. So I need you to keep your elbows there and slide your body back, that's it that's it. 25 poses. What I want you to do is I want you to put your hands out like this like you're stretched out on bed. Okay I want this hand to come up to your shoulder and I need to lift up through your neck and shoulders. Okay so when I say lift up Rose you're throwing your head back. I want you to lift up, there every time. Now I want you to lean into this hand. Gorgeous, lying in bed having a gorgeous conversation. Pull this way, okay not back fall that way. That's it and chin down good girl there it is. And I want that with the shoulder in Rose. Beautiful big smile go, that's the one. Okay from there I want you to jump up. I want the bar stool. 25 more poses, you could do it. Abner Scott says I love the looking down the body line and after the shaping it does is just amazing. Okay whoa, no falling off. Do we get a hair exemption on time? Like two minutes that going in overtime? Let's ask the producer? Okay cross it over cross it over. This is where I do all my film noir. So I'm gonna be showing you this all week. This is somewhere that I just want to get these hourglass sitting down body lines. So I get this line here. I make sure I, chin straighten up for me. Straighten up at the back push your chin forward stop. Down just a tickle, don't tip away like there thank you. The internet is shaking their pom-poms. (laughing) Okay give me the chin forward and down. Okay from here I put this hand all the way through. Lean forward to meet not that far, not that far. Long chin up nice and long relax that mouth. First I'm going to go this way. I would put lots of air into here. From here I want you to turn side on this way, this way. This knee goes up that one stays down. This elbow goes here this one on the back of the there you go, nice triangles point toes. You're very long so I want you to go off the end. Point toes no Thunderbirds, ballet hands. Long chin this way, this is my CoverGirl position. Absolutely love this shot. This is what I've always called my fashion quarterly because I think it's just so magazine. And this is not a shot everyone can do. Just watch that hand in the front Rose it's getting a little bit rigid, nice soft hands. Chin up give me that fierce good girl, chin up a little bit and give me that super model face I got a blink. Chin up a little bit chin up this way stop. Relax that mouth relax that hand you got it there it is. From there- Is there a body shape for this pose Sue? Stay there, go this way bring your chin around. Say that again. Is this the kind of body shape you have to have in order to do this pose? Okay can you ask me that in an hour? I want, not so far. Chin all the way around that's it now go back to where 'cause I liked it. Take your shoulder with it bring your chin around. Chin around chin around that's not that far, not that far, not that far stop. You've got it, okay I want the smirk. Good girl gotta have the smirk. From there put both hands between your legs this way. Drop them straight down lean forward. Lean forward don't move. Bring the chin down just a touch, just a touch, down more. All the way down to that shoulder. Beautiful big smile go, gotcha. From there I want you to put your elbow out to here. I want you to grab your hair I want you to touch there you are don't move. Okay relax your mouth now beautiful big grin. Let me have that, gorgeous. Can't even see those braces they're amazing. Okay from there stand up put that black skirt on. Time? Give me some time. Five minutes about. I feel like. Four minutes, four minutes. In the bar stool sue is the knee position really crucial to achieving the hourglass? It's not so much an hourglass as triangles. Go back against the wall. What I want you to do here. How many shots do I need to try and get? Okay I want you to move the skirt for me. I want yeah so stop don't move it. Just move your body to here. That's it so pick it up and just give me one that's it. Now that's it stay there. Now long chin. Three minutes 40 seconds. 17 poses you can do this you can do it. Okay I want you to relax your mouth long chin stay long chin towards me and work it that's a girl. Stay there what I want you to do now is I want you to turn sideways to me this way and I want you to kick that up at the back. That's it just like flip it up at the back that's it and bring your chin as you do that bring your chin all the way to this front shoulder. Go woo hoo! Okay what I want you to do now is I want you to sit straight down and put your hand skirt frills. Bring it out, bring your knee out point a toe. Bring it all together, that's the one. Okay I want you to really work the hands everything. That's the one stay there long chin forward. Don't move don't move. Okay from there I want you to stand up again. I want you to work your body this way. Okay and I want you to lean back stop stop stop okay. I want that's it, that's it, gorgeous looking like a flamenco dancer. Okay I want you to do this for me. I want you to turn your body away from me and I want you to turn back and flick. Okay that's it one practice, more body line. So I want you to go like this. I want you to work your body towards me. That's a girl do it again and stop and bring that chin to the shoulder and look at me, perfect. From here I want you to go back to the wall and I want you to put your hands into your hair like this. That's it don't move. Lift your chin towards me, lift up relax your mouth. I need to believe those hands. So I want them into your hair, that's a girl. Beautiful relax your mouth, relax your mouth. And I want you to bring this hand straight up up under your chin and long chin towards me that's it. Take this hand up into your hair make me believe it. Good girl stay there. I love that. Okay from here I want one box. One minute. I want you to bring your knee up. Am I close? Nine to go. At nine we're gonna give you a two minute because of all the hair and you got three minutes because of the hair. Dig dig dig dig. And I want you to lean forward onto that knee. That's it so you're all skirt but not your neck. Your neck comes up and your chin comes forward. That's the one most of it between the hands. Good girl stay there, stay there, stay there. Okay from there I get rid of the box. Okay this time what I want you to do. How many of I got eight shots? Eight shots Sue. Okay. Go for the gold Sue. Let's go. What I want you to do (laughing) This is hilarious. Okay what I want you to do is I want you to dance for me. I want you to go like this and just swing your body up that way. So yeah but look at me I want you to connect your chin and your shoulder when you do it. Okay so I want you to stop, turn look at me. And do it again, that didn't get it. Okay this time I want you to look at your own body line. I want you to go here so I want you to go like that and just flick and look down your body go. That's a girl perfect. This time I want you to do it again the other way. Turn this way flick back give me a shape. Look down, connect the shoulders give me a big smile at the same time. Big smile at the same time do it again. Throw it, throw it. Okay from here I want you to use the skirt. I want you to flip the skirt, flick it all the way around and keep the skirt going and get this position to the front for me. Three more Sue, three more. Okay go for it go for it. Do it again. Okay do it again stop look down your body line stop. Stop look down your body line. No stop, just stop, stop. Look down, look down, look down. Two more. Flick the skirt. Look at me. Give me a beautiful big smile. Nice, that's not a real one. Bring your chin all the way here and smile at me. Really smile at me. (laughing) Really that's a girl now that's-- Sue that's a 100, that's over 100. Sue Bryce did it. (all applauding) (laughing) There are fireworks going off all around the world Sue. (laughing) That's 100 shots in the corner so we got a corner, we got a box, we got a bar stool. These are our props, we got a scarf. We needed a skirt for movement because that's an outfit in series I would of shot. For me it is about constantly resitting when they look wrong. There's that moment when you start posing people and they just start looking awkward and then they get their little sort of Thunderbird on and you just say reset. And as soon as you say reset they sit back down. And then you start again lift up nice and tall so things I repeated lift up nice and tall, chin forward. Then I have to choose hands. Then I have to try and just go through so we'll go through the 100 shots after. We'll have a look at them we'll break them down. Then as you'll see over the next sort of four shoots you're gonna see the same poses unfold with different ages and body types. What works and what doesn't with those girls. A generic model so someone who is Rose's height and size zero could have done every one of those poses. And she wouldn't have been posed. She would have done them on her own. And they can pose up to 60 poses a minute. So a professional model can just out pose anybody. But I don't get to work with professional models and the everyday woman just cannot do that without direction. Strongest direction you can give the better it's gonna get every single time. Do we have time do we want questions do we want? Well I was just gonna give you a recap. That was a 102 images in 60 and a half minutes. I think it's time to take a break for you. If that's what you would like to do let's break. Yeah so any questions though, is there anything else or do you want to talk about it after? Any questions from the Internet before we go? There are a ton of questions should we? We can ask a couple? And the audience let's start with you guys. I just think it's awesome. If a professional model can do 60 but Rose can do 100. Let's give a big round of applause to Rose. (all applauding) And it was great 'cause when we started to go fast and Rose was just working it harder. It was so perfect. Did you have 100 already set in your mine? Yes, yes. So you had a road map? But I'm gonna show you how to do that. So that's what I'm gonna show you how to do next. I'm gonna show you how to map it. Yeah I think that's where our biggest question. It's just a map. In my mind I have a prop map. I have a light map. I have a posing map and you know what? I look at it like this in this I'm downloading a whole lot of files simultaneously. I have the experience of different body types and what makes them look longer and slimmer and better. I have the experience of getting people to move when they can't move. And then I have the experience of knowing my props and knowing what poses look good on each prop. And then I have the experience of knowing the poses that I've done before that really work I repeat again in my head. So this morning when I saw Rose straightaway I look at her first. I have to look at my client in order to understand how I'm gonna be able to move her. And then I look at her and I go okay I can use her here. So I think straight away back to oh I shot this girl once with waist length hair and I was playing with her hair and spinning her hair and it just looked beautiful. Instantly it's like I get a visual map going straight up in my head. Then I'm like this shot here I've done of Amanda when we were here last and it really worked so I'll do that shot again. That beautiful three flowers I did that up there with my seniors shoot last month. I'm gonna repeat that. So in my mind I go through that visual map and then I just start laying it out exactly what I know works and and then when I have time I try something that I don't know if it works but I want to try and experience something new for myself and my client so I go to my visual database that I have of magazine images that I see where I think I'm gonna try this. Which is what I did with those flowers and it worked and now I'll do it on multiple clients. I do that too but it's with you pictures all over the floor. (laughing) The good about my posing manual is it helps you achieve one pose. But what I really want to do now is get you to flow five, six around it better. So you're not just doing that one pose and going this is a Sue Bryce pose. It's like yes it is a Sue Bryce pose but Sue Bryce also does this, this, this, this, this, this, this, this all in that one sequence. And move it up and keep them moving and get it exciting and yeah anyway. I think the secret because like she said we do have that posing manual it's sort of like and I keep going back to karate because I feel like quitting photography opening up a photography dojo and practicing posing katas but really that's sort of what it is. I mean it's that flow, it's practicing. Because I think CreativeLive, there's no replacement for experience but I think CreativeLive bridges the knowledge gap. I mean it's education in a very short and condensed amount of time so someone who's dedicated and if they practice and I feel like that's what is missing. People need to know that. They've got to practice it. Well when you watch this again I don't want you to watch it from what I'm saying. I don't want you to watch it from trying to remember that Sue's saying lift up chin across because everybody is different. What I want you to look at is what I'm doing to Rose. So I want you to look at it and go she went bring the arms in, she went work the shoulder forward, she said bring the chin up, she said don't cup it, she said put it back to her neck, she said lift up tall and bring your chin this way to your shoulder. What is she saying to Rose, not what is she saying? Because it's not what you're saying to your client it's what your client's doing. So if you can identify the movements that I'm showing her then you can show someone else so you can sit like this you can bring those hands in, you can bring that shoulder forward, you can work that chin, you can lift up tall because you're practicing the way you're moving Rose not what I'm saying because anything I say can translate to a very awkward pose. But she can, but if you can feel it then your client can move based on what you're seeing and you can understand their movement. And that is the difference between direction and a pose. How do you make you triangles? Because I know you brought that up. Well I don't to the client 'cause they don't understand it I only mention triangles to photographers. For me a triangle is when I put this hand into here. So instantly if a client takes that shoulder back or they roll it forward and it's to the camera there's no triangle I can say leave your shoulder forward but just cut me a triangle there. They don't understand what that means. So I just go and push the elbow back or I just say elbow back then if they drop it back to there and I lose the triangle from the front 'cause I'm always looking for that asymmetry. Fashion posing is not like traditional portrait posing. It's very angular so you don't want that softness all the time you want that straight there and there and then you want that body line if you can get it through the back. And you just get these beautiful openings. And once you get these openings into your shot and you get openings they're filling that frame with their arms and arms and legs and it just equates to triangles in space. And that looks really beautiful when it's shot on the right angle from the front. So if you get a perfect triangle but shoot it a little bit off it's wrong it doesn't look right. That's when you look at your composition. You stop your model and you just go I just want you to turn your body this way. And now bring the shoulder back and now bring your chin back. And as soon as you see all the triangles come back in to the camera you've nailed it. Well when you just did the pose correctly I saw light. When you didn't do it correctly-- It's wrong. It's wrong, I mean there was more energy. And that's what I said when you're looking in the camera when you're a photographer and you're looking in the camera and you're going sugar, sugar, sugar oh and you know. That's when you stop, stop freaking out and just stop. Reset. And just look, reset stop. Gabe lift up tall through the back of your neck. Bring your chin forward to me stop. Turn this way very slowly stop. That really looks good. And if I think if I calm down and just slow it right down to stop, this way stop. Then I'm like I've got a Sue Bryce pose right there. That is just working it's perfect. Then all I have to do is knock that chin and shoulder just towards each other and it's a hint. So let's say the pose is perfect but you just bring it in you bring it in to there and then you work there and you work those eyes and as soon as you get the expression you've nailed it and then you move on. Because you want to sell multiple images. You're okay asking the model to smile and stuff like that? Always beautiful big smile and a real smile. I'll say if it's not real. When they comfortable they'll just smile for you. And if they're doing a tense smile. If the smile's in their mouth not their eyes I bring it back up to their eyes and I say no no I need you to give me a real smile. I need you to give me a real smile like I need you to look at me through your eyes and smile at me. It makes a big difference. I thought I had chin forward and down understood before that from the last workshop but I didn't. The whole on the axis and not with the neck that totally-- I constantly say your shoulders come back lift up nice and tall, bring your chin forward. Your chin forward not your neck forward. We've all been doing that. And everybody's been doing this. And it's like bring your chin forward. And remember the leaner they are the higher they stay and then the curvier they are the further they come down. And remember never to close up that gap.