Photoshoot Foil Dress With Carly


Anatomy of a Photoshoot


Lesson Info

Photoshoot Foil Dress With Carly

We're going to keep going here now we actually have the shoot that is we've done some testing and carly coming this way a little bit I have to make sure she's exactly on her spot so uh back to your there you go keep backing up backing up there you stop right there she's got high heels on a swell so we don't want her to fall over now what we have to do is when we last left we said we wanted some more light on this side as phil and so we're going toe just attempt again this is failing with purpose I think this is going to give us too much fill but we're going to try it out we're going to throw this up here bring it back a little bit problem with this is I think we're going to get too much phil on the background so kelso if you could meet her to the camera eleven eleven this is just way too much light here way can't lower that anymore so try it one more time ten that's it ten we were eight okay so let me do the ratios really quickly so this is something that I'm doing I showed you on the ...

first day I'm taking this loomis fear down measuring to mikey light that's telling me nine putting it in memory hitting my delta evey button I'm doing this really faster now going over here pushing and holding and I'm saying that this is a little bit brighter, so what's happened is our key and her feel have just swapped, which is no good. We want this to be less powerful than this, but let's fail with purpose. So I'm going to do here is I'm gonna meet her this to the camera, just like we did before we're at ten hold that in fact, there, hold that we have now we have this also stand out here. Another tenant tools table on this. We use this a lot just to make sure that during the shoot, we know where everything is. So what I'm gonna do is I'm gonna adjust my camera here to ten and see if it makes sense to swap our ki and fill light. And so there you go. Good. Just like that. All right, let's. Just see how that law looks when you see that. That looks sort of cool, actually. Let me try it again without the blink. So give me a smile. Good. By the way, those were pictures that I normally would get rid of. So there, you know, looking so let's. Have a look at the beauty dish. So that is now archy it's, brighter than our phil there you go, beautiful. All right, so now, by swapping that light it's a totally different look really sort of like it when you see we've lost the background, we just lost it. And so what we need to do is we need to increase the light behind our model, but I like this. Look, I think we're getting great. Speculate, highlights it's looking pretty good. This is a little bit too high for me, though we can see that we have shadows underneath her eyes and some of the lower this just a bit, just a hair over this up. Kelsey, can you meet that one more time to the camera? I want to keep it a ten, ten ok, ten. Good. So what we're going to do is we need to increase the light on the back. And so what we're going to do is we don't care about the effective size of this light because we're just splashing light on the back, so just move it a little bit closer. Physically, move it closer. Now, come back here to the base station and then john it needs to come. Er, the lightness. There you go. Good. Just like that. Except look right up at that big booty. See if we got that okay, now we have that background and we're over exposed just a hair. It looks like we're over exposed on that it's very difficult to tell, so what we're gonna do here is we're going to throw this into light room. We're going to double check just to make sure we're on track, so I've taken the card out and zip over here the light room throw it in a soon as I throw it in again. I haven't shown you fully how we're doing this yet, but we want to get the ball rolling on this shoot before we do too much so automatic comes in and says we're ready to go again I don't want every nothing I just want the last shot that's all I care about, so I'm gonna import that there's the last shot going into the develop module checking out for blown out highlights I don't have any checking for any kind of issue we have issues have blown out highlights in the hearings and in the eyes, but it's tough I could live with yeah, I can live with that, so I'm looking for focus, the focuses and exactly right that's alright, I was shooting really quickly, I like how this is looking on the dress I think we can, uh crop that out, the background is falling out nicely and so that gives us lots of empty space for text allows us to throw in some of the things I think we have a shot that it's working. So we've started there now, there's some things that I don't like about this. So diane, can you come out? Come over on your show, show you this? No, I was talking to paul earlier about when I start working with the model into this point, I haven't really started working with the model it all all I've worked with is the light, the light in the composition that's it so I haven't looked at that at all, so we don't need makeup just keep coming, keep coming. So, um, here's what I'm looking at so we'll have to cut back and forth between light room, the hair I don't like the hair, so see how it just pops out off the side of her head, so I don't like that because it looks like we just have this and then poof. So is there something that we can do to either subtract or add more volume here? Would you like it to be it's harder to at the volume? It's just really hot in here just get rid of these but I can make it sleeker you'll just make it a week yeah let's get rid of these so I'm now starting to work with the look of the model right now that it just doesn't work for me I've got nice, sleek and then these things that come out of the side and it just doesn't work with a nice form um that okay that's that's sort of how it rolls now let's say this hair took was planned well in advance and taken an hour and a half to do and I did that I think I would have just been punched in the face at that point, so but this wasn't planned out well in advance and it didn't take hours to do it took a while but not ours. So if that would've happened, then I would have just been kicked up to sit by my wife. Yeah, get out of here. All right, so now that we have light, we have the light down way haven't exactly like we want we need to fix the color, so we'll do that next after we get the color fixed, now we'll shoot a few more, then we'll make a test and the post production to make sure that it's working exactly like we want once we have that done then I'll show you how I have everything set up in light room walking through the exact workflow that I'm secretly using really quickly I'm going to slow that down will do the slow mo light room demo so you can see all those steps so notice how diane does this on set in real time you know what I could do if I was a nice guy I can go grab an apple box these are apple boxes these little boxes because your makeup artist is always the shortest person on the right and normally you thank you and I normally don't have this big of a dress to sort of reach over right thank you know apple box so normally kelsey somebody would throw that out there just to make sure we all have stepladders on sometimes we put models on apple boxes we have really long dresses to make them look taller we'll stack apple boxes on top of each other and then we have a model that looks fun realistically tall um it's just a really cool look. So yes, now I think so. So we have without these flyaways here that need to be fixed. Okay, well, I want you guys can't see that we have these little fine strands of hair that coming up so those need to be fixed up a little bit a couple questions for you, mark yes uh let's see e ke thirteen had asked when we look at the light room are we looking only at the raw then when you're when you pull that up yes, just is only the rock yeah, I have my light room set up so that it imports both raw and j peg but I'm only looking at the raw um it just has the j pick there for fun so it's all raw that we're looking at now bernardo villas asked, do you always take the memory card of the out of the camera or connected usb cable to the computer? I always take the memory card of the camera I just find it a lot faster and I have a really high speed usb eight hundred card readers superfast so it's it's faster than my usb port. And so with these large files, its speed is key. So um and I have ah, his card reader um it is a goodman raw f w ait I don't know if they make these any more actually firewire, firewire eight hundred um and I know there are other brands, but I was, uh I was doing a show at w p p I last year and goodman was in the next booth over and I was struggling with getting my images on the screen fast enough and they're like, uh here use this and it was like oh my god, she was really fast and so then when I went to give it back they said you can keep it so thanks to him for that all right, I think we're good we have one issue that might pop up so stay right there we'll look through the lens wei have one more issue so we have this right there yeah that's what I thought yes, this is there's no, I had a question about guess set etiquette so how do you or snap factory handle team members or makeup artist models taking pictures, iphones, blackberries and posting them on social media during production, right? So that's a good question that the answer is when we're doing there's two different scenarios that are studio we have uh, professional corporate, our clients coming in, they're hired us to do product shoots or whatever a lot of those have nondisclosure agreements in the agreements and we absolutely have a zero tolerance for any cameras at all because we're photographing products that having been released to market yet and we have signed agreements say we won't display those some of those air prototypes that they don't ever go to market on dh so we have to keep it really tight controls over that but if we had a client on set and it was their own product and they wanted to shoot pictures of us taking pictures of their products um we don't like it we tell them please don't do that it's really distracting for the model and for me so we asked them not to but when we're not shooting they can take pictures of what the day was like so sort of a nice thing on and then we have workshops and workshops like this it's like shoot as much as you want to sort of awesome you know, we want as many behind the scenes pictures as possible so once we dial this in you guys were going to be free to shoot it's just uh from the model's perspective when you have a bunch of different cameras going it's hard to distinguish because remember that here we can see but normally the model can't see what's going on and so the person being photographed doesn't know did they just get the shot or not? Do I hold that? I just don't know uh audibly what's going on it's really confusing so generally we were shooting we try don't have people shooting um unless it's a workshop or something, you have another one from online because I think we're about done with that we dio from ddd nine six seven does mark try to place the catch lights in a particular place on the service of the eye? Does he mind if the catch light is directly in the people I don't intentionally placed the catch light anywhere I do pay attention to the pupils, though, and so in a studio and it's really dark people's violates you get really big black pupils and so the color of the eyes goes away and so a lot of times what I do is, um I'm going to do this to you, carly, so prepare er what I'll do is I'll take the light and I'll just I'll do that a few times right in their face and the reason I'm doing that is so that their people start dilating and when they do our whatever the contracting the right word I don't know make them smaller on dean you seem or color of the eyes and so we can have more beautiful eyes here we go let's keep going and normally you could see how music would make a huge difference and only there's music rock n roll in the whole time and so there's no like downtime where the models sitting there it's quite it's just, you know, music that I can be a lot to amy grant going on, so I know alright, so look back up there, amy rules good, I need to turn my camera on and put the card back and I didn't do that so that's a no, I did so look right about that beauty this beautiful chin up just a hair good I'm keeping these nice and why I'm gonna put back on my auto focus because I don't trust my manual focus at this point I'm intentionally keeping these shots wide so that we have enough room to play in postproduction so I'm gonna move back a little ways so I really want to keep these wide so we have room and post play around and you're asking why don't I just go to a different lens? Well, because I want to keep that distortion I really want to keep that I'm focusing right on her face right in her eyes re composing taking a shot right it's a really, really wide shot now what we need you to do is to turn your body toward the camera just a little bit more there you go and then your head right at that I want you to look right into there there we go good good love that good I'm getting a few different shots here with hi linds I'm zooming out good big wide shot good rotating my lens I'm gonna do some verticals so these air full shots so uh these we havent issue so I'll shoot and they will fix the issue so again look right into that land I want to keep that post so tell your head a little bit to your left keep going. There you go. Beautiful car. That's it. Okay. And we'll do a couple more. Okay, we've got an issue here that we have to solve for these verticals. Maybe we might get away with it all right. Now what we need to do is we need to go to the next steps. We need to put these in the light room, see what we have. Let michael check them, and then once we have that, then I can walk you through the light room, work flow so yankee these out of the camera leave that right there, throwing these in the light room. Normally, I would show the model what I'm doing. So the question is, do you show models what you shoot and answer is yes, I normally showed the model where I'm shooting right now. We can't because that dress I will not allow us to move and somebody going here, I'm gonna get the last few shots. All right? Bringing these in there's also a rule. I don't know what it is. It's a law called the, uh, inverse square burning hot photographer model rule, which is that the photographer is always about thirty degrees hotter than everybody else in the studio. I don't know but it seems to be true any time I'm shooting it's like I'm about fifty degrees hotter than anybody else and I'm dying nobody else is like it's cold in here uh so maybe that's it so first what I'm gonna do is let's cut over strictly the light room so everybody can see exactly what I'm doing as I'm doing it I'm gonna take a look first at a grouping of images so I've selected a grouping of images by selecting the first image then the last image and then what I'm gonna do is I'm gonna hit the in key in an end brings up survey mode and serve a mood let's me look att thes as a group so I can sort of see how the shoot is going normally we would have a really large second monitor so we could do doing some things on the small monitor and showing them on the large monitor at the same time so let's take all of those and show those so I can go in here and say ok that one's too close get rid of that this one I don't like the way that the movement is this one chin too low this one I like this look at these verticals this one not so much there are two winners horizontal and vertical really quickly I can go through and say which ones work now for my money I like the vertical better so it's not gonna work in the ad that we have so I'd like you to start working on the vertical some kind of vertical okay so I'm gonna give you this to work on that vehicle this horizontal is a really nice close crop I don't like that it's going to hit this um because it's too close let's get back here to something a bit lighter I need a wide shot I don't have him all right, let me show you the issues that I was thinking we had so aaron come on over I'll kick you out for a second eric come on over for one second so the issue that I think we're gonna have issues we see her shoes okay um and this tape so you know the light fall off it's pretty darn dramatic so we could probably just kill that coast but after yeah and the other thing we're going to be just this backlight is too low it needs to be up closer to the top of her head but the other thing that we might be able to use yeah, we can we can extend it with some screen lets get this and do it with a light fall off first and then we'll we'll play later you've got it so um kelsey where's kelsey come on over for a second and john so and what I'm doing is I'm going one by one through the crew and saying here's what we have to fix and here's what's working so right now that the issue is on the verticals this is too low we need to get up right up there on the other thing is once we start shooting this has to go away this tape tape yeah because it's it'll just be so much easier first to get rid of that um and then carly you cannot move so once we get that tape yeah, it is it's this back and forth so once we yank the tape you've got it you can't move in fact right now you've moved forward so you gotta screeched back just a little bit and skews toward lightness a little bit and then come back toward me a little bit more there you go so we'll get you but it's it's that specific okay, so you're going to shoot a vertical now to be raised the let's get let's get the horizontal is first and then once we have that then will we will rock and roll on everything and then we need a color checker yeah, we also needed the color first so all right, so what we've done is we've just dialed in our lighting where where we wanna be, we know the things that we need to change as we move along we're ready to shoot any questions from students here okay any any questions from online that are just need to be answered right away before we start dialing in this stuff now go ahead okay so I'm going to now format my card so I went all fresh images to be coming into light room from here on out I formatted my card we're doing the horizontal sze in the horizontal yes looked right at me there you go excellent love that looks good look right at that light yeah keep your perfect perfect get these a little bit wider yes, I love that look so let your lips part just to hear just like they are excellent and turn your shoulders a little bit toward the key there you go the other way there you go there you excellent good and one last one here and I think we're done with that. Yes. Excellent. Now when I'm telling carly to do is turn her head toward this key light the reason for that is when her head is turned toward the key light the relationship between the light and her face that makes that front light that makes sure that there's no shadows on her face we're not going to get any shadows from the news it also I've lowered this so that her eyes were gonna have a great catch light and there's not going to be shadows in her eyes so I think we have the horizontal shots there let me get those over to michael really quickly. Um so first let me check those most cameras you need to shut him off before you take the card out of camera or you could uh accidentally erase your card or corrupt the data so, uh your camera shut off the card reader when you open the door so I'm letting light room poppin I'm gonna use all of these I'm gonna add keywords and someone say horizontal carly import okay there so let's wait a little bit first let's uh see if we can get it to drop off before we do that. Okay, so here they are I'm looking at these going to survey mode so this one I like I'm gonna get rid of this guy here sort of like that this one's no good yeah so these are these are decent so let me go into this guy here check for focus yeah, looks good. Okay, so we have that I'm just going to give you this. You have a thumb drive uh for testing purposes only. Okay, way haven't fixed color so I'm gonna go in here export this to your thumb drive. This is already set up already done this srg b j peg original sharpened export we're just throwing this file on a hard drive is a jpeg image so it's really small just replacement that's all we're doing it's about done all right, so we're gonna go over here to obviously, uh finder have to reject this card reject that is great. Throw that in there. That's all good. Okay. Uh erin I mean, uh kelsey let's do the color that's once we have that were ready to tell people how we're doing all this stuff. Well, quite a great card or color first let's dio let's just do the color and we'll do the greater than the color. Okay, well, I'm taking this off my tripod for this right up against your skin. Yes, actually was too great for god. You're going to get a great, uh, card I'm gonna go in here to white balance. I'm hitting my pre set. I'm holding it down pre is flashing. This doesn't matter if it's in focus or not just put it right next your face right next to your face. Custom white balance here he goes way get it. This will work much better in manual focus than it will in any other focus says it's good. Let me just check it one more time. Make sure actually is good. Yeah, much better color. Okay, now let's, get the actual awesome. Nice now, this way uh, grab this from you it's really important if you have one of these not to actually touch the colors so don't ever touch the colors because your oil on your hands going to miss that up and so you can pop that out for me you want the back one popped up just like that so it's actually could make a tea like this so in the model holds that she's holding it by that and no colors are being touched and she can stick it next to your face just like that like that right next to your face good now this I wanted to be nice and close really really close good now we have that color checker right there awesome yeah always looks good good okay now we've set our color we have our calibration target we're gonna use it later in light room and now we're going to start shooting for riel music would normally be pumping and so again looking right at that yeah exactly I don't know you're on the spot good it's like that excellent lots of movement with those yes with their shoulders give me that see there you go excellent love that chin way up excellent turnout there you get awesome look a little bit more closely toward me turn your head toward me there you go and more this way there you go all the way to the field like there you go turn your shoulders toward the phil all the way over keep going there you go excellent just like that she toward the key light with your shoulders keep coming around coming around keep come around there you go. Stop right there now, if you can try to twist your head a little bit more toward the key there, ugo almost like you're trying to get. Yes, a little bit more even perfect. Okay, did you see how fast that wass crazy fast? All right, so now what we're gonna do is we're going to start looking at these guys and I'm gonna show you how we do actually gonna do verticals first. Sorry, I'm not ready to show you a mark. We need to move the backlight. Okay? Yeah, just make that go up just a little bit. Can you just tilting it? Just raise it? Yeah, we're not able to. We're going to shoot and guess who we have questions that we could go to at this point while they're doing that? Anya alban eddie asked if if you said that the great heart has to be in focus does not okay great great card does not have to be in focus hold off so I can show that photon ater asked if the models that you're higher usually have some kind of formal training um some do, but most just have experienced modeling the reason that we have carly here, as you can tell she has experience and so normally on a shoot or you need something that can emote very quickly and just go uh wait try to find models that have, um a few years of experience at least and so and carly does so and I've worked with her before I know that she has that ability, but the last thing I'd want is to have a model and throwing out those things and they're like, I don't know what he's saying so you can see carly just is going with it, so yeah, we try to find models with experience now what we do is during the test shoots if I've never, ever worked the model before unless they have lots of experience, what I'll do is I'll bring them into the studio for about an hour maybe a half an hour and I'll just put him in front of the light and we'll do some shooting to see how they move on if they don't move very well, then we reserve those models for failing with purpose kind of exercises and if they move well then way, use them in normal shoots and only the models that we used in the exercises just to learn we'll gain experience from those we'll do some portfolio shoots and we'll recommend them to other photographers and over a year so then they're ready teo do some different work have a question from the light matters um energy on set is really important what does mark due to psych himself and his team up if someone is having an off day well a man usually if I'm having an off day um it's bad so kelsey can you talk to that a little bit because um usually I mean if I mount him all day everybody's happy everybody's having up there it's not pretty for mark if he's having an off day it's usually because we're not organized enough or he's hungry so I I'm serious way keep a lot of granola bars on set way had the creative live staff by granola bars specifically for mark um and then I'll do what I did on the first day of the shoot if we're really struggling then I'll call a timeout and regroup with the makeup artist in the wardrobe stylist and mark and figure out what's going on and if it's if it's something that we've already committed to like commercially then you know we'll resolve it and keep going and if not if it's an experimentation day than we usually cut it short yeah I mean sometimes it's just not working sometimes it's just like it's not working things aren't working right whatever's happened is just and so yeah we're done but for commercial shoot you don't have that option and so you have to put your game face on and is frustrated is I might be or somebody might be you can never let you never let him see you sweat you can't let the client know that's going on and so you just have to keep a happy face and that's part of the discipline and the professionalism I think but the not all kidding aside the little granola bars there really important for me because I have a weird blood sugar problems and so not only do I get extremely agitated I mean really agitated I started barking at people and it's really ugly but also I can't think straight and so I have problem solving issues and stuff so part of the discipline that I have to have is to realize that's happening and then eat and I usually don't do that I realise I know something's happening but I just want to push through it and so what diane does or kelsey is they physically make me eat they'll still come up to eat this now yeah I'm like earth really man for thanks theo and the rest of us aren't allowed to have bad days no you just can't it's you have bad days yes yeah but you push through it like mark so yeah we have way really have fights but sometimes we'll tell you about those later as we go along okay back to the verticals and here we go so yes, you can you can do cem swan lake stuff yes if you want no uh just don't you know? Okay, don't do apartment yes. So we can do that kind of stuff and let me just take a check here to see if we have the light in the background at the right place. I think it's going to be coming up here, I think the hd my maybe, maybe not. We may have a technical issue. All right, let me shoot a couple more. Why? We're working on that. There you go. Beautiful. Alright. Anything pause and make sure we're getting this. Okay. Good. Yeah. So, um, aaron, if we're doing the screen, we need to have the screen all the way back in the back as well. It just stops to abruptly. So let's, get a bunch of screen back here. It's just fill this up with screen. So the reason that I say that is we have this hard line, it just stops right here and you can see that we have a problem with the, uh, wall in the background there's this horror horizon that's showing up right here. If you could imagine this turned, I'm on auto rotate on. Sorry. So I want mohr screen. I want that screen to fall out and also, uh, you may have the impression and I'm just yelling at these guys to do stuff but it's it's not that that's teo do the speed of the job we have a shorthand in fact yesterday craig observed us is we went today we just like here's what we're doing and he was like wow that's cool so we've developed a shorthand of here's what we're gonna do every sort of understands that we're just working really quickly sort of like a team of football players that don't like excuse me could you please move over there so I could pass you the ball no they're like go that's what we're doing so uh we're being polite in a professional way okay yes exactly their paychecks attached to it so that's always good let me see that's working for us just to get a sense of that that background yeah that's that's much better so let's just pull all this out so um can you help paul just for a second come on up behind let's fill it all the way up behind to the wall just pull that intothe getting assistant paul to help out where's josh man josh man hop in there help out uh just have nicknames for everybody got josh man good carly we got pancakes so hopefully we can get the rights to release the pancake song javier recorded because it is hilarious picture you heard it yet yeah pancakes they're delicious okay let's keep shooting yeah, we have one hard line I could see right here let's, break this up right there. Yeah, I think we're good. Let me just take a look through the lens. We're good, we're good. All right, so every hop out of there and more swan lake ish. Okay, excellent love that love that. Yes, good, we're getting it. They're very graceful, awesome love, yes, good. Keep your head toward the key light, though, toward the carry. Go. Excellent, excellent. All right, a few more here. Good. Okay, way. Have those shots.

Class Description

Join Mark Wallace as he dissects a commercial photoshoot to reveal each step at its most basic level. From technical aspects of lighting and color, to real-world experiences working with art directors, make-up artists, models, and other professionals, you’ll have a firsthand look as he puts each piece together to complete several complete concepts from start to finish. This unique course explores the fundamentals of commercial photography, from the smallest jobs to the biggest productions. Bring your questions from your own shoots, or use this experience as a roadmap when planning your first jobs. Mark will be chatting with the live worldwide audience throughout the weekend!

Software Used: Adobe Photoshop CS 5.1



Mark really knows his stuff. He was very well prepared and Mark did a great job teaching this course. Mark went through all the steps from beginning to end in great detail. He also answered questions from the audience an online viewers which helped fill in any blanks. Great course.