sultation, she and I met after hours, the studio was quiet, and we had time
to get to know one another. When she came in for her session, the phone
was ringing, there were a couple of people at the front desk, and a guy
crossed in front of her on his way to his department.
It doesn’t take much to discern a client’s mood. As soon as I noticed she
was feeling a little stressed about all of the activity, I paid her a compli-
ment. “Ms. Posner, I love your hair! Last time you had it in a bun, so I did-
n’t realize how long your hair really was. I’m going to be able to do so
much in the camera room with your hair alone! Let’s get you to your
changing room and introduce you to my makeup artist!”
I wasn’t as concerned with her hair as I was with distracting her from her
fears! I quickly moved her from an uncomfortable situation into a safe, re-
laxing environment. My client’s changing room, makeup application room,
and camera room are all separated from the distractions of the rest of my
studio. When I have a boudoir client in my camera room, she is my main
focus. All telephone calls or visitors can wait until I’m done! My staff knows
this and never interrupts the photography process.
Ms. Posner was an example of a client who wanted a boudoir photog-
raphy session to show her how far she has come. She is rebuilding her self-
Shooting from a high angle can hide a
double chin and create an interesting,
dynamic portrait view.112 ELLIE VAYO’S GUIDE TO BOUDOIR PHOTOGRAPHY