We may have talked about this a little bit but maybe we could talk about it again with regards the lighting lots people lighting questions so from one shot how do you determine the distance of the key light the model when doing the lights set up is there a specific like quality you expect to get for editorial in fashion work oh is there a are there guidelines for the light from distance from the light to the model there are no guidelines it all and every photographer has their own way of shooting I like this light being far away into the sun I've worked on sets as assistant talks would have won big soft box right here uh others having a big umbrella right here it changes for each photographer and that's a personal choice there's there's no guideline you learn all the rules in school then you leave school setting and go out to life and you break the rules and fashions definitely about breaking the rules you learn the rules and break them. I love that advice you want question from r d ho...
w do you visualize the final retouching on these images and how do you communicate that to your return that comes after the shoot? I'm not thinking about retouching as I'm shooting at all I will meet with my re toucher and discussed at that point what I want to tweak uh in terms of color skin texture all that comes after the shoot when I'm editing right now I'm in creation move so I want to make sure is I make sure I cover it and get it shots I want get tight three quarter full body I want full coverage so I get to editing I have all material to put my story together to make one more before we go back to uh sarah okay, a question from largo which focal length is best for models with curves to keep the head size from appearing much smaller than the body. Uh focal well let's talk about that for a second because I know a lot sharper is like using zoom lenses. Um I'm using a full frame body and I like prime lindsey is um promises have always been sharper than zooms and zooms have come a long way that's amazing zooms out there they're still not as sharp as prime lenses was a prime limbs ah prime lens is a lens like eighty five is a true eighty five or hundred macro or fifty those are prime's a zoom is like a twenty four to seventy seventy two two hundred and those are very popular today like some old school in that way because I love my prime lenses now what's up a great lens that's not one distort I like I like my eighty five great limbs to use in this situation I would not use a thirty five the situation and I'm even scared to use a fifty in the situation and I could but I'm pushing it uh I know I'm safe with eighty five or hundred mac grow or a one thirty five in these fashion situations not to stay in that range and does that person was well there sometimes who feel very differently and they love their zooms but that's not me and does that different by uh by body size so the person that asked about a kirby model with head and I'd be more concerned about it if if a woman has more curves and uh I wouldn't different would not use a fifty or thirty five in those situations I use a longer lens to change those portions thank you I will go back to shoot because looking really nice over here we're getting some great stuff every time I turn around and look back isis in brand new that's exciting and different and new so while she's getting pimped out go bring sarah on set I want aaron I want I think I want change her hair okay, come down I think you'll see it all up, okay let's see that one with the bonus going higher, I think I want to see that so we're going to make a small change in very often I'm looking at the model and deciding on that spot that I want to change a hairstyle or make up style to make it a little different now the hero for today is the fashion but I'll still make small adjustments to the shot so it looks a little different and I'm being aware that the fashion is the hero the entire time so as I'm looking through the models and seeing how things are changing I'm thinking about how shoot them what lindsay values and uh as I'm doing that my crew is testing the entire time to make sure everything is working all the time changing batteries if I'm killing my batteries they're changing lights packs if I have a problem a pack but making sure that everything can say working so I can just be in creation mode that's all I want to do is create today thinking maybe if it's high like in there okay I'm breathing like a ponytail yeah okay so then I can have maybe some wind on it to move the hair around okay thinking good how you doing? Good because that water drink good beautiful perfect sounds good this is beautiful on you you can play with necklace as you move even julia's nice on this one I like that you like it higher there uh like like that's good okay, so we've made a small adjustment hair wise to the model she's got a great outfit on we've spoken about it she has the attitude she has the beauty obviously she's long lean way for fantastic shoot now time you work eighty five eighty five story can I get some more tea matthew on your storyboards you only have um an individual do you plan on shooting them together at some point or how does that evolve in a shoot like give input I don't plan on human together I have thought about having them together though what do I mean by that? Um her question was the storyboards showing each girl by herself and am I planning on having them ever shot together? I'm not planning on shooting them together but I'm thinking about having together imposed where I have each girl separately with different energy we're putting together impose I am thinking about that from the very beginning I'm glad you asked that question so as I'm shooting I'm thinking about how a girl would look being side by side income to get impose it's very hard to get the same energy and the great shot together at the same time but today I can take it great pictures find the shots I like and put them together no white is very easy and we're thinking alike and whilst looking so good can I ask you a quick question absolutely marcus anthony from san francisco would like to know if you forever leaving your lens hood on do you shoot with a lens hood in the studio I do and this practice a habit do I need it in studio not really but I have it for me to have it on and I feel more secure having it on so with my eighty five I have no filter on I have no filter on my limbs at all I had this great cole's eyes optics I don't need any filter over this they're not meant to be so that will be shot with filters over him if I put a filter over this it distorts the beauty so I want a lens with no filter on it and I keep my lens hood on I don't need it but it's my habit and I feel more secure having that there and if I drop the lin's god forbid I had this little protection is a buffer but we will not drop calls eyes optics with twenty eight, nine hundred doesn't happen got it well they're almost ready I have time for one more question before she goes on set right uh a question from e s russell from where utah oh he does say that the uh how does matthew how do you handle releases and insurance from models and crew okay for it's a business question so on every job in new york and l a especially you are required to have insurance so my producer and agent we're doing that before anything's dunn's matter fact before we even come in the studio we have to show our insurance certificate before he even booked the studio so all that's part of it the producer and uh and my agent working through all that stuff before we even walk in the space that happens everywhere location um studio anywhere that's just general business practice okay alright tell may have fifteen minutes to shoot okay, so when I shoot this one really fast and they will go to lunch and I think they're almost ready I like that hair better I like that much better time for question one while they're doing that this's from golden one leo in the bahamas bahamas if you were limited to just a camera with onboard flash and shooting a similar fashion type shoot as you are doing now but on location how would you go about making that work for you to get the same kind or similar results it's I would not shoot on camera flash and get this it's impossible um I would not do it that way if I had to shoot or location I'll use natural light I would not use on camera flash ever for fashion now there's some people who's who's tao dictates that look um and they've mastered that look it's not mine but it takes testing and figuring out what you like and what works for you, but as described in that question, I wouldn't do that
Matthew Jordan Smith is a world-renowned professional photographer specializing in celebrity, beauty and portraiture. His iconic approach is simple: Take the time to personally connect with every subject, make them feel brilliant and beautiful, and the photos infinitely sparkle. It's
Thanks Matthew for the super informative courses. I'm from Thailand and I'm very impress with the way you speak. It is super clear and very easy to understand. Your answers to each questions are extremely inspirational. I think you are the best teacher on photographing so far on Creative Live. Each of your answers and information are very motivational and very thoughtful. Thanks again for this great Live broadcast. You are a great teacher and a very nice warm person as well.
a Creativelive Student
Thanks Matthew this two days have been amazing, and I am looking forward for the last day,,in which you will be talking aobut the photography i would like to do, since is my dream to be a fashion photographer i have learn a lot from you, and this expirience has been amazing, if i only lived in L.A. and not mexico city, i would definitely write you a letter and try to be your assistant to learn as much as possible from such and amazing photogrpher and person; once angain thanks for everything.
Thamks creativelive for bringing this amazing photographers, and letting us learn more and more about the amazing world of photogrphy.
a Creativelive Student
This course has been an awesome experience. I have learned so much about the process of beauty and fashion photography. Matthew takes the viewer through the preliminary thought process. He not only covers the technical aspects but also the importance of the photographic team itself--the stylist, makeup artist, model and photo assistants. The photographer plus the team equals magic.
I do not use the term amazing lightly. This man is AMAZING and INSPIRING! Thanks to Matthew, I feel confident that I will find my own vision.