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Shoot: Boudoir Sue Style

So I'm gonna pack three really big-selling looks into this little section here. This is my genre of boudoir. So were talking about boudoir business this morning and we were talking about our marketing strengths and weaknesses where you were talking about diving boudoir and beauty but I was more about incorporating it all but still making it look a little bit more fashion or glamour than the classic style of boudoir. I don't know why, I guess it's just me. I love the boudoir genre but I never saw in it New Zealand or Australia until I came to America and so it really exploded here. By the time I had seen it, I was already quite set in my ways with my glamor brand so I didn't really take on to the boudoir genre even though I'd been photographic women in their underwear. So this is a really neat little tip that I wanna show you. So I have a Keynote demo and I'm also going to show you the reference live, 'cause I want you to see the difference between how it looks photographed versus how y...

ou can pose it. And this is really easy, this is what I call the 180. Okay, so the 180 is so many people stand in front of a client and we've got Shayna in her gorgeous little outfit, they stand in front of them and they bang away 20 images without moving. And the one thing I wanna teach people is you move 180, they move 180. Okay? So it goes like this, for me, let's say we're on a flat-ish wall and you're about there, we're just gonna pretend it's a solid wall 'cause it's just a demo. I'm going to come around this side first because I wanna be able to move 180 degrees around Shayna. I wanna look at the light that's hitting her here, which looks absolutely beautiful, by the way, come back towards me. And come back in here. That's it. I wanna see this light here and then I wanna come around here at the 180, I wanna shoot her on every angle on the way around until I'm shooting her into the backlight. Okay, so it works beautifully on a white wall but, quite honestly, if I'm going to be shooting this side on the backlight, I'm gonna have to have lots of reflected light 'cause she's now turned away from the only light source in the room, okay? But it significantly changes the mood of the image when they go from light to the face to the backlight. But what I'm trying to get is a full rotation in my posing. So when I say 180 degrees, I mean I'm gonna walk 180 degrees around my client. So the next time you're posing a client, no matter where they are, I want you to look at Tiffany at 180 degrees, follow her all the way, get her chin to follow you, because we wanna reset the chin to the camera everywhere we go, and every time I sit around I watch her body line change and I watch her pose change. Now sometimes you can't move 180 degrees. That would be because the background would be too small and if you start to move around, something jumps up on that side or you go to move this way and it jumps up on that side. So when you can't move 180 degrees, Shayna moves 180 degrees, right? That's the whole point in learning to move people is when you can't get around them, they move. So on this demo on the screen, on the Keynote, I'm gonna flip to the Keynote so you can see. This is what, go back to the first one. So the very first one, I'm at 180 degrees to Jaime here. And she's in this position here. So her hand is touching her bum, she's up on her toe and this hand's flat and working this way and I'm getting her to push all of her weight back into her bum. So like kick back, arch your back, that's it, without tipping your head back. And then I bring the chin around. I take the shot right there and I'm using my zoom lens. So I'm using the in and out as well as the going around. My next shot, straight away before I move is I pull back. So she's in exactly the same pose but by simply zooming out a little bit I get more body line coming in. So straight away I haven't even started to move around her yet, then the next pose comes in. And all I get her to do is touch the bottom of her bra strap. So remember all the touch points? We don't touch the breasts, we don't touch the belly but we can touch down all the side and we can touch the bottom underneath the bra because that's a really beautiful, soft line. That means we're slowly starting to bring hands up into the frame. Now I still haven't moved. The next shot comes in and she's back down, long pose, and then I start coming around again. So keep me moving forward, Mike. From here I still haven't moved, I've got her elbows up here. So I'm just changing out the positions. So just turn your body towards me a little bit more, good girl, push your bum back, lots of shape into there but don't tip your head back. Straight away I'm taking another shot then I'm looking down the body line. Look at the significant difference when she looks down her own body line. Okay, now I don't do the looking away, I do the looking down. It's when you look down your own body line, those are my two eye lines, one is to the camera. That way, which is body language, and the other one is down the body line. I don't do a looking out this way because it doesn't make sense to me. For a fashion shoot or a boudoir shoot, it's fitting, but for me the two eye lines are this is me and my body language and this is my body, they belong only in those two eye lines. So I still haven't moved, and so go again. And I still haven't moved 'cause now all I've done is now I'm working this hand up against this wall and relaxing these fingers forward. And never cross the tummy, that's it, hand down, always elbows in, that's it. And I'm just leaning against the wall using the hand here, okay? So I'm always trying to bring hands up into the frame to fill in, next shot. I bring the other hand up. Like, I'm talking about 180 degrees and I actually haven't moved yet, so, obviously I'm clicking away, changing hands, this comes up to the outside. Just relax this hand down, that's it. Chin around to me now, working that shoulder forward. And then the next shot, I come around, oh, and I'm touching the hair, still haven't moved. So Shayna, put your hand up into your hair this way. That's all I'm doing, is I'm changing the body language by using hands. She's still working her hips back and then I look down the line. Still haven't moved, eyes down the line. So I think I'm at how many shots there? I've probably taken six and I still haven't started to walk around her yet. Okay, next shot. Okay, as I start to turn, I take a step here, the first thing I do is let this hand drop down. Okay, I let this hand come out to the shoulder here, and I get her to turn her body towards me. Towards me, yep, that's it. Okay, kicking your booty out. Nice, come up onto your toe. And then the next shot, I come around, all I did was zoom in, okay? I didn't change the shot at all and I took her hand down 'cause I don't want gratuitous hands, okay, next shot. I take, oh, I take the hand back up and I turn it horizontally. So I've taken one step on the and I'm still nine shots in. Okay, next shot, I take one step and I'm in front of her now. So now I'm in front of her and I'm swapping her body line, so her knee is pointing away from me, now her knee is going in this way. Okay, this hand goes down to the thigh like that, don't turn away from me too much. And this hand comes up onto this top line here, so it sweeps the decolletage. That's it, long chin forward. Okay, now I take another step and I'm here, I keep it exactly the same pose and I just make her arch her back more. That's it, so arch it back. That's it, so don't just push your bum back, like, arch everything back, good girl. Then I get chin, come with me, and I'm slowly just moving her around. Next shot, I take one more step here and I'm gonna get you to recline on the wall. So this hand goes down. This hand goes down and I want you to drop your shoulders down that way, okay? Straight away, now my light has changed because my light source is now hitting me from this way. Then I come around one more time, next shot, Mike. And I do exactly the same shot but closer. Next shot, and I'm closer even still because I really wanna take that close-up shot. Next shot. I come one more step around and I can now see the other window, which was where I started out on my and is that the last one? Okay, so if you look at the Keynote now, so turn, like, don't look at us posing, but go to the Keynote, I want you to just watch this Keynote unfold in terms of 180 degrees. So as we work the Keynote, it's gonna go one, two, three, four. Okay, I'm at the end now. Now work your way backwards, one, two, three, four, five, six, seven, eight, nine 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23. 23, okay. (laughing) So all it is is 23 shots on the 180. And they, you can make them look different, you can come in, you can go out, you can get more of a backlight, you can get more of a front light, you can add accessories, but all I'm saying to you is in 180 degrees, you can do that full rotation around her and I think it really, really works. I'll put that in the PDF for different bodies and I call that shooting on the 180, okay? So I want you to practice that. As photographers, I want you to start really practicing one thing, I want you to start practicing getting your model, client, to lean against a wall and I want you to practice walking around them at 180 degrees until you see different light everywhere you go. Then, when you can't turn them 180 degrees, when you can't turn 180 degrees, you turn them 180. So let's show you how to do that. So what I'm gonna do is I'm gonna put Shayna in here and I'm gonna do a shot that I call the tutu shot. Now for me this is not so much lingerie, this one, really, for me, is about, if I go to the tutu shot, Mike, this one is about being a mixture of kind of boudoir and cutesy, I dunno, I see this whole, I just absolutely love this series. It's something I have done in my shoots for a long, long time. I really just use a bodice, and a lot of girls can turn up with this outfit, it works really, really well. So I'm gonna show you how I do this. All right, yesterday when I was working the couture manual and I was getting the girls to flow with their skirts, this is kind of similar to that. I'm gonna set up shorter movements. So when you see it, it's not, you think everybody was moving fast, this is kind of, this is exactly how I did the shoot this month. So what I did was the top left image, I do something really cute like this where I get you to turn your body this way. Take a step into the light a little bit more, that's it, stay there Shayna. Okay, what I want you to do, don't be too worried about that, it's all good, is I want you to hold your skirt at the back at the bottom, yeah, and I want you that, okay? So it's about a small movement. So what I don't want is the hand to do that, okay? So I kinda do a couple of practices with them where I go, I want you to set your feet, so right up onto your toe, I want you to kick your bum out as far as it goes. And I want you to go like this. So, to me, don't go and look with your head down, look down there and just, I just want you to go like flick, like you're flashing, that's it. So it's kind of more like from the front you're kind of just going. And you're showing me a little like, ooh, okay? So I want it to be cheeky like that. And I want the movement to just be really short. I want you to look at the camera and just do that flick, okay? And I want that look. Yeah, so I want that little. Okay? And all I do is I wait for it, I do a little bit of a practice. Okay, which we've done. (vocalizing) All right. Let's see if we can get it. No, no, no, you just went like this. Okay, I want you to do, remember, that's it. So remember, it's like that and your chin goes to the edge of your shoulder. Shoulder works and you give me that cute little smirk looking down. Not yet. Cute little smirk, lips together, prepare now, go. (camera clicking) Okay. You just went like that and threw your head back. I want you to prepare your chin and shoulder and the only thing that moves is that kick there, good girl. Okay, you're just gonna go. But I want you, I don't want you to do this. I want you to give me that. Okay, it's a little cute mouth, like a kiss. It's like that. Okay, it's just a small movement. And prepare the chin and shoulder because you're not gonna move anything but the back of your skirt, go. (camera clicking) Awesome. This time, I want you to give me a little bit more booty with it. Okay, don't move your chin and shoulder, go. (camera clicking) Okay. What happened to the little kiss? (laughing) Okay, I want chin, shoulder, booty, kiss, go. (camera clicking) You got it. Okay, and as soon as I see it, I know I've got it. So you can go back to the tether. So what I'm doing now is I'm gonna create lots of little movements like that. This one here, I want you to turn side on to me, I want you to just bounce on your toes like that and I want you to work the skirt here. Okay, so hold the skirt. And I want you to flick it. And I want you to look down your body line this way, okay, and I want you to not be static, I want you to kick your booty back. So you must have lots of shape into your body. Okay, so kick it back, that's the one, don't move. Eyes down like that and then shake it up a little bit. It didn't come out. Okay, give me a shake, look at your shoulder, chin and shoulder to me. And lots of shape into your booty, go. Look at me. (camera clicking) Okay, slow down. Okay, I want to make sure, when you're doing movements like this, when you're getting people to move, I don't want movement that is consistent like this because that's what people do, the washing machine. Okay, and they just sit there and they'll just keep doing a stiff movement. I want you to create the mood of where the shot's gonna end up. So I wanna make sure that even though the skirt's being moved, she's gonna end up here. So she can just flip towards me, one move. So instead of going like this, okay? I want her just to go, push your hips back. Other way. Away from me, no, no, no. So you're this way and you're gonna go that way to me, like that. So it's one movement, that's it, do that. But at the same time, work the shoulder, chin down. Good girl, and go. (camera clicking) Okay, don't go, I want you just to go, like it has to be a little flick. That's it, just give me that flick. Chin, shoulder, kiss, go. (camera clicking) Okay, from there, I want you to just, this is what I did for this one, I love this one. Bring your foot up here, turn around. Bring this foot up, mirror me, good girl. I want you to bring your hands here to here. So just like you're dancing. That's it, so it's there, that's it. I want this hand to go a little bit higher I want you to turn your body towards me this way. That's the one, okay. Now what I want you to do is swap your feet out and just kick back. Okay, but you've gotta give me as much boom in there as you can. So flick it, okay, and it has to be like you're dancing. Okay, so what's happening is while you're working on your hips, your hands are doing this. So it's gotta look like it's a dance move, okay? Right. If you can't do that, I want you to try this. I want you to turn around, hold the skirt. Yeah, that's it, and I want you to flick there. Nope, just to me. So turn half way, stop, and flick that way, that's it, but you need to connect everything and look down. Little movements, little movements, little movements, that's it. Okay, stay there. And go. (camera clicking) Okay, now, look down. (camera clicking) That's a girl. Okay, from there, just slow down your movements, Like don't go like this with your hands, okay? Don't go like that, I just want you to do little flicks. That's the one. Can you get any faster? Like give me a little flick like, flick it. More. (whistling) Okay, so kick your bum back and do that and then look down and do that. All right, from there, let's do another one. Let's just do movements. Okay, from here I want you to turn this way, we'll put some air in here, we're not gonna put the fan in here because I'm just gonna pretend we are. We'll put the air in here and I would just go like this and just go, and just jump like that, not very high. That's it, stay there. All right, work your shoulder. And, I always, whenever I work the shoulder I do a static shot like this. (camera clicking) I always stop and take a few static shots because I always think they look so good. Tiny little jump, work the shoulder, go. And give me that little kiss. (camera clicking) That was too high a jump, you took off. Okay, just a little, tiny little, tiny little, tiny little jump, do that again. (camera clicking) Okay, from there, don't tip your head back to your shoulder. So stay straight, bring your chin around. See how hard this shot is to get? It's not easy, you gotta make them work for it though. Look, it's one of the hardest things to do, is darting, making people dance and you've gotta remember this, they're not doing a dance. Okay, they're doing a moving pose that's very short so if it takes me eight shots to get the shot that I want, I'll keep doing it. That series of Jaime that I showed you before, those six images of her in her tutu, we took nearly 50, okay? Because she'd keep jumping too high or I would tell her to flick her head back and she would flick her head back and her hair would cross over. You know, there is a really high edit rate on dancing shots in tutus and throwing fabric. There's also a higher edit rate on blowing hair because as soon as you put the fan in the hair, it only takes one stray hair to come up and over and you've nailed it. But so let's just go through some movements you can practice. One of them is you can already set the mood here, just like we were on the sort of, glam the dress, and you can use your body line here and flick the dress. So hold the skirt, that's it, so lift up nice and tall through your neck and shoulders, put your chin forward and down. And work it there, that's it. And if they don't move in the way that you want them to, do static movement like this. Okay, lift up nice and tall through your neck and shoulders, long chin forward and just work this shoulder forward. Okay, not up, forward. Yeah, that's a girl. Do static shots like this and blow the fan straight into the skirt. Okay, just get a fan up into there, whack the fan straight into it and get the movement that way, okay? So do whatever you have to do to get some movement in that fabric. Also, you can go this way, sideways, and just flick the skirt like that so nothing else moves. But I've just gotta get some expression and the connection. So it's gotta be like, that's it, it's gotta be cute. It's gotta be rocking, so you don't have to get them to move much, just get them to flick it up. Also, a really good one is a very slow side to side, which we started to do with Alex yesterday. Side to side is when we're going this way and kick around, that's it, and then this way. Okay, and so make sure when you do this you're not tucking your bum in but you're going out. That's it. Kick out that way, that's a girl. And kick out that way. Now do that again, keep going, don't stop, kick out that way, keep doing it with them. Mirror them, keep that connection going. Now flick that skirt up at the back as you look over at me. (camera clicking) Okay, little smirk. (camera clicking) That's it, little smirk. (camera clicking) Good girl, okay. Make it as fun as you can, make it laugh, make them laugh, make them jump, make them spin around, do whatever you can. Make them feel absolutely ridiculous, most people do, because it's one of those things that, you know, if you're not a dancer per se, or a professional dancer, you always kind of feel like you're being awkward. Do a side to side, do a spin, and another one that works, turn away from the camera and just flick back in one movement. Okay, so you turn your body to the back, you take a step towards me and you just flick in that way. And it kind of creates this 45, that's it, do it again. (camera clicking) Good girl, don't move. That's exactly right. Try and hit them right as they hit you in the front. So from back on, if they've got a skirt to throw, just turn and flick, but make sure their movement stays still. So make sure they're not just spinning and keep spinning. So go backwards and go turn towards me and flick. Also, I look at it like this, I look at it like it's a salsa movement, okay? So I kind of look at it like it's like that movement or that sort of flamenco when you're trying to get that big skirt going. That they turn and then hit that pose there. And I'm always trying to get the volume of the skirt. Now remember, if you can't get them to throw the skirt and move, because it's a really hard thing to do, you get your assistant to throw the skirt and you just get them to move. All right? If you can't get the tutu to work, you get the pose static and just put the air into the tutu. But it is better if you can get them to jump, twist or turn. All right? So from there what I want you to do is, we are gonna go white sheet. So you guys go this way. Oh, you've got there? Okay. I'm going to show you on the Keynote something else. Can I have the Keynote, Mike? This one here, absolutely funny, the bottom corner, this was, it got to the point where I said to you, I tease people when they're jumping and dancing if they're not doing, you know, if they're not doing it right or they start to look stupid. And they feel stupid, you know, doing it. If they're dancing and I go, "No, do it again." I go, "No, do it again." They're like, ugh, they know they're not getting it right, I laugh with them or I tease them about it and they crack up laughing. Those are always the most candid, beautiful shots. This is what what I call the bed shot. It's the shot that I first took with my gorgeous friend, Casey. She just absolutely rocked this shot. I saw it, it's a very similar shot to a Jennifer Aniston shot that was in Vanity Fair many years ago. And I saw it and I thought back then, I'm going to, you know, log that shot in my mind and one day I'm gonna re-create it. So when you create a shot that's kind of iconic for your brand, you end up ultimately doing it more than once. So I created this shot here and then I started to do different versions of it. So it's always shooting into the backlight, it's always white on white, it's always on a bed or a couch going back into the light. And it's pretty much just something I repeat over and over again multiple times and so many girls ask for this shot. It's one of the hardest shots to shoot. And I'll explain how I do it. So basically, this is Simona's studio here. So you saw how, that's Simona's little window, and she's got two polystyrene blocks. So all it is is the girl comes out and it should either be on a bed, an ottoman or a soft box like this. You wrap your client in a sheet because it's really, really important that you wrap them in the sheet. Also, I don't let my clients walk around with no clothes on, I let them always walk around the studio either in a robe or a sheet, I'm not interested in making them feel uncomfortable. Then you lie them down and then you can move the sheet around. So I get them to lie this way. So when I shot this series here in Simona's studio, so that's her getting ready and then we go down. We're shooting into the backlight, two big white reflectors going back to our model and basically we're just gonna change up some hand positions, right? Because we want variations to sell variations. So she's out of the sheet here and she's actually in her slip. Okay, so I choose this one over the sheet, I really like it, and I take it into Photoshop. Now shooting the backlight is really hard, you can see in the top right corner of this shot that the reason that it's hard is because you are trying to expose for the face with no natural light source to the face. So the light from the window is coming straight onto the poly boards, bouncing back to her face, you're exposing for her face and then pushing it almost two stops on camera. Okay, I shoot this a little over. You're in danger, if you don't shoot RAW, you're in danger of ruining this shot immediately because this shot here will flare on any hot spots. Now RAW saves a multitude of sins when you're pushing the digital camera in the hot light like that, but it is not invincible. And so, two things, one is if I have to, I will Photoshop that top right corner in order to achieve that, okay? Or I will, if it's really hot, bracket a shot. So I bring a bracket down, so I bring the exposure down so that I can get a darker exposure so I don't blow out the background. And I will head swap in a background in order to get the shot if I have to. I haven't done that for years, actually. Once I upgraded my camera to the 5D Mark II, I never had to re-composite any background at all. It is just, it's amazing, and the 5D Mark III, absolutely incredible, I don't need to composite. But that option is there and that's my shot. Also, from this angle, or from this, sorry, this stage, I can put treatments on my shots that make my shot different. So I can put a color shift in, like a yellow-blue that lifts it right up and that color shift just gives it that real sort of beautiful glow. And then I can put more density in and go de-saturated. I can take it into a black and white. But either way, this image totally works, okay? So this is kind of a mixture, I'll go backwards, of the sheet, bed shot, and then I just did it in a slip. But this sheet shot, it's one that I get asked for all the time. What I like about it, it's sexy without showing off any body. It's more glamour, it's more hair and makeup and if you think about it, who does it remind you of? Marilyn Monroe. Her best shots is when she's on the white bed and she's been shot and she's just doing her Marilyn thing and she's got her blonde hair and it's just, she could move her body, that girl, and move her expressions. And he photographed her so many ways on that white bed and they're just her most, I think, her most iconic shots. So we're gonna shoot you, you ready? Okay. Definitely, yeah, that one works for me. So I'm gonna tell you how to do it. So basically, what I do is I have an ottoman, I always try and get a bed or an ottoman. I always put a pillow up under here because the idea is I wanna see her body but if it's flat, I see too much. So I wanna come back to this shot here. Back to my original Casey shot where I was actually using the pillow. I'm actually using the pillows, in Casey's shot, to hide her boobs in the front, okay? So for the purpose of being a public viewing and a family show, I'm not gonna take the sheet off Shayna, but what I did with Casey is once I sat down on the front here, I couldn't see her bum from the front because I was sitting down on the floor. So what I do I just turn their body up sideways more so that this hip comes up and then I bring this knee forward so that the booty jumps up. And really, what I do is, I just pull that down like that and I always shoot this in underwear, okay? I never shoot this naked 'cause I don't, they don't need to be naked. Casey was actually wearing a G-string in this shot and I just removed it on Photoshop. I just find that girls will pose easier in underwear than if they've got no underwear on, they don't stretch out their legs because it's too uncomfortable. And also, just for them, it's a beautiful teaser shot, look, I'm naked in bed, but it shows nothing about the body. And then I sit about here. I've got to, obviously, shoot this in the backlight. And this sort of shot is that kind of quintessential, really sexy back-lit shot that I like. Yeah. Perfect. Okay, from here, two things I do first, one of them is I bring the chin all the way around to the shoulder, shoulder all the way around, don't move. And I shoot this into the backlight this way. Don't move, Shayna, that's beautiful. Good girl. (camera clicking) Okay, as soon as I do that I can bring this hand out. So I wanna start moving around, I don't move too much here, this one's more about the shape of the body. Bring the elbow out to here. Your back, no, mirror me, that's it. And bring this hand up onto the pillow. Now, yeah, that's it, just there, soft hands. So turn away from me with your hands. That's it, don't move, now working that shoulder in a little bit more. And I'm about here, chin forward and down. (camera clicking) You know what? Every time I've taken this shot of a girl, every single time, no matter where I take it, the white sheet, the white background, the white light, it sells every single time. I just think it's sexy without being, you know, it's just perfect, it's beautiful. I love its simplicity, I love its beauty. I like the fact that the makeup looks good. I like the fact that I can bring this elbow in and I can touch up to the face. So I can start including beauty hands. And work that shoulder forward. Don't move. (camera clicking) And to me, I just think it's beautiful in its simplicity. It's one of those shots that, you can bring both hands down, you're not gonna have a big series of because you can't change it up too much unless you can get above them and around them so that they can roll around and laugh a little bit and make it fun. It's not a big series shot and don't get too down here like this, because then she becomes all bed and no body. So, I'll just show you something. So just make sure, all she did was knocked her arms forward, there's nothing in there and I wanna see something. So I wanna see, pull up just a little wee bit, more, okay, this side of the woman's body is so beautiful, that side piece, and it looks really gorgeous right down, you can just have the bum poking up. If you just lift up nice and tall, good girl, stay there. I would rather have this side with that side boob. I think side boob looks really good. Everybody likes a bit of side boob. (laughing) Everybody likes a bit of side boob. It just works great. So I would, if it wasn't for CreativeLive right now, I would take the pillows and push them down under her boobs to bring her boobs forward so that they were sitting up on the pillow more. So, yeah, so from here, I want to bring this hand up. Right, let's just, from here, just tip into there. All right. Just gonna get into a comfortable position. And here I am, just gonna mix up a few of these. Hands coming out of the bed, just put your elbow, don't move this hand 'cause it's amazing, bring your elbow up and over this pillow to me. Yeah, so lift up. Yeah, lift up, lift away from me a bit more. And just bring it down this way. You know, when you move people's hands around, just move them around and try different stuff. I don't like that, so just bring it straight down. No, not towards me, always out there, that's a girl. Now open your chest up there, so open your hand up to here, lift up really, really tall, that's the one and now bring your chin this way. Just try different things, have a look at them. If you don't like the way they move their hands, change it. You can change every single pose. Bring your hair forward with this hand. That's it, that's it, now put your fingertips in your hair and lean back this way, let this hand go down. Like find what shape you really like in her body and just keep floating around until you find it. And once you find it, take a whole, beautiful series of shots and then move on. So there's my white bed shot. Just make sure, if you're shooting white on white, we've got a nice, strong light source coming from here today, we've got no light behind us. We've got two little white pieces of cardboard and yet the exposure to her face is just about near perfect. We've got a bit of hot spot hitting her sheet there but that's not enough to lose it in the RAW window when you open it in Photoshop. If they are comfortable, so just wrap your sheet around you, I'll just demo it. If they're comfortable, there's a few other things that you could do in this position that make this image really beautiful. You could get her to sit up. So that sort of sitting shot, wrapped in the sheet with the back open. So you can open the back right down to that sort of back line, sitting on the white bed overlooking her shoulder would look beautiful. You can do anything like that. Just move her around before you move her off the bed. Try and get at least, remember, before we go out of a composition, we try and get at least five sellable poses, okay? So we try and move at least five times before we get her off the bed. And, you know, just work with people. They take a bit of time, chin away from me this way, keep going Shayna, drop this hand down on the inside. That's it. Like, just find what it is, bring me some light, ladies. Find the angle, find their thing. And, like I said before, if you can't move around them, make them move. And I just think to myself, you have the opportunity to photograph on an ottoman or a bed, you know she can lie down, sit down, recline, look over her back shoulder. You've been practicing those moves, you know it works, it's a sexy shot, so make it happen. And lots of practice with this one because it really looks great. All right, next shot, I want you to put a bra on, do you have a bra on set? Yep, you need to go and put it on. So I'll talk to them about what's gonna unfold next. Like anything, when I do it long enough, I get bored and I start to make stuff up. I've been doing that for 23 years.