Bonus Video: General Q&A


Anatomy of an Epic Photograph


Lesson Info

Bonus Video: General Q&A

Hey guys, thanks for buying my course over creative lives so my topic tonight of the of an epic photo shoots had a lot of questions right now I'm going to try to get through them the next five to ten minutes so let's get rolling. I had a lot of questions from people regarding how I make my work sellable how do I monetize my epic production since they're so creative since so exciting? Where do I go around my income from so there's a lot of ways that I've kind of, you know, figured out one of them are conferences I mean, the reason why I'm here this is bringing me a little bit of revenue so that's fun I travel for free, I teach one there put shoes together so that's that that's one way to do it second, I mean, I'm producing great work, I'm doing things that people can use so smaller production, they're very interested in what I do because they're looking to attract attention. My work attracts attention, I could bring visibility, so the clients have the agonist, the band they needed cool ...

pictures, that picture has been extremely visible, extremely good for them, so that's a paid contract, so I get contracts and what I think is really fun about what I do is that you can't really notice the difference between what's paid and what isn't the content is always there, it's always something that I love to do, and it comes across that way. There are other revenue streams because I blogged there's a little bit of advertising happening for youtube there's a little bit of a video links on, really, because I'm visible because I talk about the equipment that I do well, I have companies that support what I do I don't have any official sponsorships at the moment, but I do receive equipment for free from time to time, either to review or to give away or what not so I do receive equipment for free, so that means that the major expenditure of any photographer which is usually equipment doesn't exist in my case, so I travel for free when I'm traveling, I live for free, I don't really need to pay for equipment already have invested a lot in equipment, so as long as they don't break it, I'm doing pretty good, so, you know, overall money isn't that big of a concern you don't need a lot to survive, I just need enough so I can keep doing what I'm doing, what I love and in the meantime, the main goal, the target is to get the large commercial shoots, right? So if I do great work did consistently invisible keep coming up with better ideas. That is designed to attract the greater clients. And you know how many thirty thousand other contracts you need the year? Not that many. So that's the answer. So I got a question about how my post production works with fire photography. Actually, the fire stuff is probably the one that has the least amount of post production. If it's done properly. If you have a great pyrotechnician and the exposure shot correctly, a lot of it can be done in camera, experimenting a lot with multiple exposure stuff you can check up just type fired one long on google and you fall on the block and it kind of going to a little bit of detail on how to shoot fire. But if you do it properly, fire is in camera, has a really, really interesting texture is all you need to do is clean up the shot from there. There's not that much postproduction doesn't assuming you want to do fire in post production. Well, the best way to do it is to simply take a bunch of stock fire photography against a black background. And if you want, if you wantto combine that with a static image where you just drag it off into your image and put it on screen blend mode and then you have the fire. Which is going to be brighter than the resident just pop in on your image it's pretty simple from there so screen bun mode stock fire is the way to go if you want to do in place production but that's no fun so much fun to light things on fire another question that I got was how do you have confidence approach strangers? I think I'm not the bravest have a person like I wouldn't be able to walk in the street and just say you look awesome I want to shoot you on just give out a car to get out of race it but if there's a reason if I know why I want to shoot them, then I have a reason to approach them I don't have a reason to communicate with them, I can say by the way, you know your story is amazing, I'd love to work with me this is what I do like have a reason to have something to justify and have worked to back it up. So I think it's something you build progressively with time, I guess on a personal level if if I would need to work on something, maybe I wouldn't be able to approach a girl in the street and say, you know what? You look great, I want I want you to model for me, but I would be ableto taken out in a different context, throws at an event and there was a circus performer I would be able to go up to her and say, you know, I love what you do because I have this division right away, I would be able to translate that instantaneously into a concept, so it really depends on trying to figure out why do you want to communicate with them and then selling that to them? So you know why you want to talk to them than the rest of salt into place? You don't need overthink it more than that because you're just striking up a conversation. So I got a question for the underwater scene on my website. I'm going to guess that the one of the underwater realm actually check it out on the block and super easy, but long story short, the lighting setup was absolutely wild. We had underwater strobes underwater struggle took a divine design for macro stuff like fisher went not so that wasn't going to like our scene. So I had the camera under water on a tripod underwater stroke, pointing upwards to the surface to trigger a speed light that was suspended over the water that fired another stroke straight off to the back that then brought a main light coming down back in the water, so we just did he change a bunch of strobes? Why didn't have any underwater triggers wifi radio signals work underwater optical slave was the only option at the time so just win the solution but um there's more information there's a full ten minute behind the scenes video on one underwater realm and you'll find it right there so I got a question over here of basically asking me how much of the chutes are actually entirely my ideas and how much are belong to the other people on did like to say really I'm just one part of the equation probably a pretty significant part about the same time I'd like to work with others so there's a creative brain storm that happens people tell me what they're looking for whether it's a client whether whether it's creative I always want to know why do they want to create the image what are they trying to look for and then I kind of problem solving work around it and I tossed my ideas into the mix so the whole thing becomes a group project at the end everyone has a purpose of being in it so understanding why what what they want out of the image and then I can kind of put my crib input so it becomes this mission action it doesn't matter it's commercial doesn't matter it's creative that exchange of ideas is what makes the project better what makes it bigger so I don't have that many products that are just exclusively my concept on igo source everything one piece of the time, it's not something that I really do yet eventually down the line if I went into fine arts, if I had a message that I wanted to carry a cross something I'd like to do, but for the moment, I can't say it's really that big of a thing it's usually a good, nice, creative nothing part. I got a question over here asking me about how you managed by behind the scenes team on really? I think that the behind the scenes stuff is not something you want to think about imagine that they have a shoot, you have to give them the brief really quickly beforehand you don't want to have more things to think about the day off. So what I'd like to do is study the style of the video team that actually that I'm going to be working with what are they like? Have a quick conversation, give them a quick rundown of what she's going to be about what could be interesting to capture, and then they're the shoot I let them run with it if I see something interesting, I pull them over and say, hey, you should really capture this, if not it's. Do your own thing. You take things on your own, because once again, behind the scenes are also part of the collaboration, so they have their own artistic vision. They have their own story. They want to tell, you know, go free. I tend to put a lot of trust in people. I trust that I want to work with people because I like what they do. So, you know, go ahead and do it on dh on my and I just kind of, you know, I hold everything together. I guide things when I see they're going all right. But beyond that, I don't. I don't exercise control, and I think that's that's, a very important part of the creative process.

Class Description

In today’s world of digital photography, it’s all about having the perfect flow — from setup, to shooting, all the way into to post-production.

Join Ben Von Wong for this workshop on building epic collaborations, simplifying your approach to lighting, and taking your imagery to the next level — all by following just a few simple rules of post-production.