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Lesson 29 from: Anatomy of a Photoshoot

Mark Wallace


Lesson 29 from: Anatomy of a Photoshoot

Mark Wallace

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Lesson Info

29. QuickTestShot

Lesson Info


Let's have carly just come out and we're going to take a test shot and we can see is this crazy nice okay, so there's your strike so I don't even know if I'm gonna have to toward me a little bit back right there. Okay nice was nicole okay I noticed how uh we have lots of details all these little details I mean a lot and so we really want to make sure that we get that um and what I am going to do here it is zipping here should be the same it's actually at night now okay since meeting a little bit differently so just look right at me there you go beautiful just like that so carly if you could I'd want you teo teo turn toward the light just a little bit more I'm sorry you're just your face toward the light bring your body back toward me yeah body back toward me just a little bit shoulders yeah there you go good good all right so for right now students don't take pictures it'll be really distracting for the model to know who to look at so just look right at me with your eyes good and then ...

I need a little bit more curve in that right arm there you go, bring it up a little bit higher on your waist a little bit higher there you go excellent. Ok, these are just tests to see and we haven't checked so we need to straighten your body out it's a little bit too forward um because I think diane what we're getting here is this with this wedge it sze leaning over you want to stay there though sorry you can't see sorry um yeah so we're looking at the lines on the the screen so what I'm looking at is when carly if if I could I could draw a line that goes straight through her body this way and that with this wedge in the dress it just over exaggerates that so we have too much she's falling over this way, so what we're doing is we're trying to straighten her up this way a little bit um to make sure that we don't have that falling out of the frame kind of look okay, so yeah, exactly leaning the opposite way now, did you also notice that diane is giving direction? You probably didn't see that, so diane is actually helping give direction to our model and that is only happens if you're on the team. So let's say diane was the client and not somebody that I'd worked with for years and years that right there would get kicked off the set that would be a boom she's gone so um or any anybody else that would be it done no tolerance at all but diane has permission to do that and so somebody else said would you allow people to come onto the set and helped direct so that is a clear violation of of what we'd allowing that some stuff we go over with our with our clients but actually I only did that because she can't actually see what you're talking about so just to help her understand because he's teaching all of you guys to help her understand what he's talking about yeah, but that's that's something that's so minor and subtle I don't even know if anybody saw that didn't you see that here? So a couple people saw yeah, but that would have been boom you're out of here just like that wow also kelsey would have been the kicker not me. So if kelsey saw that you would have seen this happen can you come with me for a second just this way and then gracefully she's gone just like that so anyway, but come back we need you to help I was actually looking for an exit I'm and I'm usually here sort of in the background as last looks, so I could make sure that he's getting the look that she needs and once he's done with that I'm out right and then there's also stuff wait didn't have time to talk about yesterday on set etiquette on set etiquette and so they're things that crew and spectators and clients we go over with them for example let's say that this was a dress um I don't know lingerie or something like that right? We would never ever allow somebody to stand back here never never creepy, creepy, freaky guy right? So never ever do we allow people to stand behind the models because normally they're docking and it's just it freaks everybody out and it's disrespectful and it's no good and so that also boom you're out so that, um boom you're out unless it's a very complicated lighting setup that happens a lot where let's say, I'm the assistant and I'm meeting and things were happening very quickly and so meter can you get out the way? Yes standing over here just to get out of the way so they don't intentionally come back here to gawk but I can guarantee you in the models mind they're like are they looking at my butt what's going on? It's it's disturbing. So, um, what that happens is you'll probably see me do something like this. I'll be over here the senses assistance over there unintentionally assistant can you just come over here? I'll just direct them over so that they understand hey, you're in a place you shouldn't be um so we do that ok well point that stuff out as we go because this stuff I'll never remember all right, what we're doing taking pictures okay. All right, so let's have you there you go good exactly the opposite of what we were chin down a little bit more there you go turn your head toward the key there you go eyes back toward me excellent. That is what we want and then we're gonna take a shot much better we need more feel light I think on this for the face j we need a little more fill. So, um where are we at? Ok, we have enough time that was improper grammar so I think we're gonna have to do is teo is just to have this held and if we don't get that can you have a, uh, small soft box standing by? So I think what we're gonna have to do or even a beauty dish with the grid we're going to have to add some fill in this site is just too high contrast it's too much while they're doing that do you want to check make up really quick do you wantto not yet because we needed their shadows. Plus we have about six minutes before we need to do a break. All right, so, uh bring that in kelsey bring that in their ugo excellent and carly turn your head toward that light keep going, keep going keep going there you go excellent, excellent yeah, we're going to have a soft box. There is not getting enough let's. Try the beauty just because we have that would give us a little bit harder. Light will do that. Okay, so I think this is a good time for a break. What we'll do is we'll do the, uh, beauty dish will start the official shoot after that. We'll start working through the light. Well, workflow will show you how we check makeup in light room. We'll show you how we're going to now check the initial checks to see if michael's template is going to work with what we're shooting and they will show you how we dial in the makeup and the hair is well and you'll see. So we're just getting started with this shoot, but we have time for I think one more question before we go to the break. So do we have a question before we go to break? You have a question? Another question from sam cox in the shoot will mark no he's done when he has just one good shot or does he intend to get several good candidates? Yeah, we will get the criteria of are we done is going to be determined by myself and michael. And so we know that we have to have a horizontal shot that fits the template that he created for tether tools, and so what we'll do is we'll take first, we'll do a survey will look at all the images that we have will pick out about four five winners and then, well, so we'll have four or five that are pretty good, they'll be very nuanced. So this isn't a chute where we have a bunch of different looks, but these will be very nuanced shots were looking for shadows and focus and expression and emotion, things like that, so we'll take those four five we'll retouch one really quickly do some tonal changes in light room. I'll quickly export that as a jpeg file will take it on a thumb drive over to the post production table. He'll throw that into the photoshopped template that he created. We'll see if we need to make any adjustments if we don't we've got it. If we do will come back, make adjustments, make sure that we got it all right, then we'll choose for five based on those adjustments. Repeat that process. Go over if we got it, we got it and we've accomplished the goal so that's, how that will work.

Class Materials

bonus material with purchase

Snapfactory Color Theory
Snapfactory Lightroom Workflow
Snapfactory Workflow Example - creativeLIVE
Snapfactory Model Release
Snapfactory Commercial Shoot Workflow

bonus material with enrollment

snapfactory creativeLIVE overview
Snapfactory Purpose Worksheet
creativeLIVE plan

Ratings and Reviews

Brian Geoghegan

Mark Wallace, Brilliant at what he does, so clear to understand, he is amazing, well done Mark great workshop, I learned so much. Thank you, kind Regards, Brian from Ireland


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.

a Creativelive Student

I loved this workshop! Many things I struggled to understand about exposure and many other things became so clear! Just wow!

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