Videos

Michael Sasser demonstrates with model Johanna three poses clients buy most: a couch pose, one knee down, elbows planted, far leg long, back arched, fingertips in hair; a slow criss-cross walk letting a robe slide to the wrists; and a backlit silhouette, hips on the wall, arms sliding up.

Yuliya Panchenko demonstrates five furniture-free boudoir poses with model Janine, built on triangles and hourglass curves: standing at a wall, legs crossed, hip popped, arms raised; hugging herself a step forward; seated, toes pointed; lying back, spine arched, hands in hair; and side-lying, legs extended, chin and arm separated.

Michael Sasser distinguishes glamour photography, shooting models in erotic but not pornographic images where the less experienced party usually pays, from boudoir, his livelihood: paid sessions for everyday women aged 18 to 61 seeking confidence after weddings, divorce or injury. He uses models only for YouTube trade shoots.

Michael Sasser fires through twenty boudoir tips: hang sheers on tension rods so windows become softboxes, mess up hair and bedding, add greenery and foreground elements, light a candle, cut lingerie tags, point noses towards the sun, use a step ladder for high angles and offer outfits beyond lingerie.

Michael Sasser offers eight habits for improving boudoir, or any, photography faster: shoot more, past the first ten thousand frames, ignoring excuses about space or light; watch tutorials without getting stuck; share work in Facebook groups to attract subjects; and borrow single elements from inspiring images instead of copying.

Karl Taylor breaks down a shot of model Sophie amid flying red and blue paint, frozen by fast flash duration. Triple speedlight banks fire through scrims either side, a boomed beauty dish lights the upper body, gridded heads edge the face and vertical strip boxes soften the body.

Joe Edelman's hour-long live Last Frame episode covers hair flips and blowing hair. Most fail as afterthoughts with buried faces and closed eyes, so he urges planning the shot, casting for hair, energy and face, slowing down, a stylist brushing between flips and favouring dancers for body control.

Xing Liu photographs friend Erika flipping her hair outdoors on a Fujifilm X-T2 with 35mm f/1.4. Three tips: lock focus on the face by half-pressing before counting her in, turn her 45 degrees off camera for a profile rather than a flat flip, and frame it against interesting trees.

Lindsay Adler captures bouncing hair on a Canon R5 in continuous drive at eight frames per second, using fast-recycling Profoto D2 strobes in freeze mode so every frame is sharp and exposed. A high magnum reflector sculpts, a zoom reflector fills and a bare head reddens the backdrop.

Joe Edelman photographs a hair flip with north-facing window light alone: a Nikon D700 and 70-200mm f/2.8 at 200mm, ISO 400, 1/800s to freeze movement and f/2.8 for shallow depth. He choreographs the flip with a 19-year-old novice so her chin lifts only slightly, shooting one frame per flip.