Alright, on our outdoor selection I just wanna take you through very different component that when I'm shooting in the studio. Two reasons, I don't have reflectors all the way around here. I also have light that I don't know, a situation that I've never shot in. We did not scout these locations, we were trying to just fly by the seat of our pants. So that we could show you the variations we're going to get by trying to shoot my style outside. So this was not about doing epic things, or getting anything in the background. This was about moving through the city and taking images that would like what I take in the studio. Looking for corners, looking for walls, looking for any interesting scenario that was gonna serve as a background, and I really loved when we found this wall here. When we started off here, with this ivy wall, I'm shooting this at 1.8, so I dropped right back my depth of field. I'm gonna shoot usually at 2.8, 1.8, but I really wanted to see the difference that I was gonn...

a get at 1.8 and this background. Obviously 1.8 is a bit of a dangerous if stopped. I went up to 4 here and we started to work our way backwards and see what we're gonna get. I settled on actually that's still at 4. I'm at my shutter speed was at 160 ISO cause it was quite bright and I had that one reflector as you saw in the shoot that Susan was holding. I shot this on the 35 mil. So no differently then I would shoot my cover girl shot she's lifted up nice and tall her chin is forward we've got her elbows and shoulders pinned back. Exactly the same scenario, changed her outfit and we were looking through twigs here. So what I did was I shot the twigs and focus this just gives a whole new focal point around the outside of the image. And so there it is there and then I pulled the focus back to her eyes through so that you could see. And there they are there. So that's where it belongs through there and yeah really amazing. Two things one of them is these images do require a little bit more photoshop than what I would do in the studio, because of the lighting scenario to the face But you also get the opportunity with the twigs on the background to create dark gatsy beautiful images that look amazing and I love all of these which is just looking through that V. So with the twig shooting remembering here I'm still at 1.8. I'm just shooting through them. I'm nice and close you'll be able to see from the behind the scenes with a ratio to twigs are they're quite close to my camera. I get right in there. I make sure they frame the face and I just love how interesting it is cause even when they're here and they're right out of focus it puts such an interesting feel across the front. I love this when we turned to the right. So she was flat against the wall. I turned to the side and these are all gorgeous and I shot down the wall so they can be cropped tight See the bottom of that reflector in there easy to crop out I like those. And that's no different than I would do back light on the wall in the studio. And the twigs just bring in a whole different component that would work with an evening gown at seniors gown. It would work with a DB tand or a cocktail dress. The brick wall I didn't really like. We only took a few there. I love that the brick wall is I love the brick but I didn't really like the orange brick. And its particularly not because Amanda has a red hair. This was a classic misuse of the 35 mil where I've made her look too skinny. This is where I should have pulled down lower. So I didn't make her look too slim or used my 50 mil. So I was using the 35 mil and I love the 35 mil but remembering it's great for curves but don't get that distortion in a leaner body. Then we turned into the back like. This I absolutely love. There was not enough back like to get a full flare. Now remember I'm going to hit these in Photoshop just because I don't like those but not anything around here. I love the amount of light that's hitting here and filtered these are going to look gorgeous. This whole sequence I think worked really really well I love that. Then we pushed her back under the light. So that was in front of that concrete wall and then we pushed it back to the concrete wall where the light was no longer hitting my lens and I love that too. I think they're going to finish absolutely beautifully. So it's just something about that that's so gorgeous I'm just going to take that one on market. I'm going to take this on market cause I want you to see me work that background as well. And then with these we went down we were here I still like that. I love concrete shooting against concrete fantastic. so always looking for expression that's cute. And that little smile we went vertical moving the hits left and right. They might put her on the wall and turn to the side again the wind to actually picked up here. And she has that beautiful natural hair through there which I love absolutely love that. And then when I got to the end here that's gorgeous she's so beautiful and here is amazing. So I'm going to bring that out I think that's going to look amazing. When we're on the graffiti wall. This is probably not my favorite we didn't stay here too long. We were just looking for lines. I definitely like that little alcove. I liked it for light but again it was orange and I felt like it was too strong in her hair. And then we put her from that orange brick straight into that blue wall across the road. And I just saw that when I looked up and that to me is outstanding for both the dress her hair and I can't wait to finish that. I loved every part of the sequence. So let's go through and pick our favorites. I love the sideways movement where she started to move here and there was a little bit of natural wind going on in her hair. The thing about shooting outside is you don't get a wind machine. Love that beautiful big smile. Gorgeous gorgeous. This red dress is sort of cute. And that's so beautiful. That's so perfectly Amanda. Gorgeous big smile love that too. Okay we'll finish that one because I want to show you that I think it's gorgeous and this is beautiful. I really just marked out there and I knew that the hid was in the Sun. There was nowhere that you could take a photograph here And all I had to do was drop her onto that steer with her elbow and come around to her parallel I love that And then as we started to take photographs I pulled back so that you can see exactly where she is. She's sitting right there. So we're hiding from the light. And we're also just pushed back nice and tight. So there's no scenario in which you can't find a wall no scenario in which you can't get up close. That's cute I did make a mistake here. He didn't take a haircut with me. We were in the public garden we could see the city in the background. I wanted to shoot through these flowers. I was really struggling to find something there right in this park because there was no density. It was shooting straight back to the city. So what I actually did was brought her forward and got her to kneel down into the flowers. And so this sequence ended up being one of my absolute favorites to shoot her in. And I shot her in nice and close. and I shot this all at 1. so these she is there kneeling in the flowers with harsh light on hair in a city behind her. I put a reflector instead of reflecting light back to her I put a reflector over the top of her head as you saw in the video, and that blocked the light to her face which meant I could expose for her face and then the city just dropped out of the background. So I ended up getting some tight shots of hair in these pink flowers which I loved and they were beautiful. So I'm going to show you how I'm going to finish that. And then we were getting a nice natural little bit of movement in the hair which was beautiful I like this. And as we came down I like this whole series we turned her side on. and her knees into the flowers. So there is always somewhere you can kneel down and look for light somewhere you can find the situation outside where you can take something really beautiful. And that's it when I pull back I wanted to be able to show you exactly where it is. I know you get to see that and behind the scenes. So that was perfect. This whole scenario. Love that love that image of her. Just gorgeous the green just works. We were actually getting changed in the back of the car And we were lucky because Susan's car has tinted windows So she could get changed quite comfortably in the back of the car. So not your most ideal situation but if you don't have a studio and there is no excuse that you can't take these sort of beautiful images out in the bound. Then we set in the garden we're in a public garden and there we are sitting in this garden people are walking past and I just pulled a nice and tight . I looked for the Sun flare behind her coming through these beautiful flowers and through her red hair. And absolutely gorgeous. I love what's going on with this side of the image with the blue coming through the red. And I can match that on this side in Photoshop and just bring that highlight back. And she looks gorgeous. and it's going to be really easy to photoshop that. So as I moved around looking for that flare looking for different expressions looking for that Sun flare through here red hair and it's what we got. And all of them work for me. And so now I'm going to pick my favorites. and I'm going to open them Photoshop and finish them off for you. This one here have them read here so gorgeous okay. So there she was just sitting exactly like that in the garden working her shoulder forward. And the shots are perfect. So from here I'm going to go back up And I'm just going to select my initial selection that I liked just to show you what I'm going to work on yeah. And I love that. It's perfect. And love this pink. I don't really need to open those ones they're pretty self-explanatory. There I love those. That perfect that blue wall of that and that was one of my favorites there. That was one of my favorites in the backlight. There're some beautiful shots through there and one of those will decide which one will do one of those and show you okay. So I've open those up.

Class Materials

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Business Checklist

Keynote Part 1

Keynote Part 2

Posing Guide: Set Map and Outfit

Posing Guide: Flow Posing

Posing Guide: Couples Posing

Posing Guide: Curves

Posing Guide: Teen Posing

Posing Guide: Family Posing

Posing Guide: Over 50 Demographic

Posing Guide: Beauty Shot

Posing Guide: Posing Men

Workbook

How It Works

Styling and Wardrobe

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Sue Bryce

Multi-talented Sue Bryce is a Master Photographer, Artist, Illustrator, and anthropologist. Her style of contemporary fashion-inspired portraiture gives her clients the experience of looking like the women in magazines and feeling beautiful. Sessions are designed to pamper and celebrate everything

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topics covered in this class

Glamour & Beauty Portrait Photography Digital Photography

Ratings and Reviews

a Creativelive Student

I have purchased four of Sue's courses and love them all. I have learned so much. I found the lesson on connecting with people thru their eyes has made a huge difference in my photos already. Her before and after's made me cry. I want to be able to take these kinds of photos for my family and friends. I just love what she does. She is such a great teacher. I learn much better seeing things done, so this was the perfect choice for me to learn. I love Sue's humor, her honesty, her detailed teaching and sweet and wonderful personality. Her sessions will or should not disappoint anyone. It is the best money I have ever spent on self-help teaching. Thanks a million creative live. You GOTTA LOVE SUE!

katie

Pure gold. Sue Bryce is likable, talented, funny, and an amazing teacher. She calls you on your BS (your excuses for why you aren't succeeding), gives you business, posing, marketing, pricing and LIFE advice. The class is 58 hours long - and you spend the majority of it looking right over her shoulder, through her lens and watch her walk through many, many photoshoots. She verbally and clearly repeats several critical formulas for success so it's imprinted in your mind. Her advice is crystal clear and your photography will dramatically improve after this class. Before Creative Live, you'd NEVER have had the opportunity to shadow a photographer of her quality... hands down the best photography class I've ever taken.

JRomkee

I have just began this course and I am excited to see how following her model will help me to improve and get my business started. I have been through the first two days and there is lots of information to absorb and things to get in order before I begin the actual challenges. I am thankful that there are photographers out there who are will to reveal there secrets ad are truly invested in others improving themselves in all aspects of their life and not just their photography skills. Thanks Sue Bryce for your passion for empowering woman and your knowledge of creating and sustaining a business by being true to who you and commitment to the improvement of others! I am excited to grow myself and my business, I am confident this will be worth every penny! Were the templates for the email PDF included in this course

2,000+ classes ranging from fundamentals to advanced techniques.

Photoshop Video: Glamour Shoot on Location & Shooting with Flare

Photoshop Video: Glamour Shoot on Location & Shooting with Flare

Lesson Info

30. Photoshop Video: Glamour Shoot on Location & Shooting with Flare

Lessons

First 2 Years: The Truth

Teaching 2 Photographers in 28 Days

Rate Your Business

Year One in Business

28 Challenges

Fear

Price & Value

Checklist, Challenges, and Next Steps

Day 1: The Natural Light Studio

Day 2: Mapping Your Set and Outfits

Day 3: One Composition - Five Poses

Day 4: Flow Posing

Day 5: Posing Couples

Day 6: Capturing Beautiful Connection & Expression

Day 7: The Rules - Chin, Shoulders, Hands

First Weekly Q&A Session

Day 8: Rules - Hourglass, Body Language, Asymmetry, Connection

Day 9: Styling & Wardrobe

Day 10: Shooting Curves

Day 11: Posing & Shooting - Groups of 2, 3, and 4

Day 12: Posing & Shooting Families

Day 13: Products & Price List

Day 14: Marketing & Shooting the Before & After

Day 15: Phone Coaching & Scripting

Second Weekly Q&A Session

Day 16: Posing Young Teens

Day 17: Marketing & Shooting - Family First Demographic

Day 18: The Corporate Headshot

Day 19: Glamour Shoot on Location & Shooting with Flare

Photoshop Video: Glamour Shoot on Location & Shooting with Flare

Day 20: Photoshop - Warping & the Two Minute Rule

Day 21: Posing Mothers & Daughters

Third Weekly Q&A Session

Day 22: Marketing & Shooting - 50 & Fabulous Demographic

Day 23: Shooting into the Backlight

Bonus: Shooting into the Backlight

Day 24: Marketing & Shooting - Girl Power Demographic (18-30s)

Photoshop Video: Girl Power Demographic (18-30s)

Day 25: The Beauty Shot

Bonus: Vintage Backdrop

Day 26: Marketing & Shooting - Independent Women Demographic

Day 27: Sales & Production

Day 28: Posing Men

Bonus: Pricing

Introduction

Photography, Style, Brand, and Price Part 1

Photography, Style, Brand, and Price Part 2

Marketing Part 1

Marketing Part 2

Money: What's Blocking You?

Bonus: The Folio Shoot

Photo Critiques Images 1 through 10

Photo Critiques Images 11 through 27

Photo Critiques Images 28 through 45

Photo Critiques Images 47 through 67

Photo Critiques Images 68 through 84

Photo Critiques Images 85 through 105

Photo Critiques Images 106 through 130

Photo Critiques Images 131 through 141

Photo Critiques Images 142 through 167

Photo Critiques Images 168 through 197

Photo Critiques Images 198 through 216

Identify Your Challenges

Identify Your Strengths

Getting Started Q&A

Rate Your Business

Marketing Vs Pricing

Facing Fear

The 28 Day Study Group

Selling Points

Interview with Susan Stripling

Emotional Honesty

Sue's Evolution

28 Days Review