Beauty + Fashion

Lesson 21/45 - Prep for Second Beauty Look


Beauty + Fashion


Lesson Info

Prep for Second Beauty Look

So on a shoot you're shooting a story shooting a fashion story or abuse story and we've now got the main shot in the can we found the shot I found the image that I like I felt the energy from her I feel great now everything else is gravy so now we're moving on so my hair and makeup is now changing the makeup going on too another variation I have my shot I had the cover now I can play this is where the whole crew has a lot of fun so let's take a look and see what they're doing and how they're doing our model is the chameleon she's changing right in front of our eyes so now we had a conversation about hair and makeup and the change we've changed the head and put it all way back and now we're going for more of a winter rayfield so we'll see this interpretation come out imply another forty five minutes to an hour doing that time when the hair and makeup is changing on set I am back here with my assistance checking out how I'll shoot this so now we have are shot we want change this by havin...

g the same light and adding a small variation so we'll do a shot I have my assistance actually shoot this on me with our small background we'll bring this in and we're using paper just paper as a background we're still very tight so test it first to see if it works here because my idea and in my mind's eye it works but I don't know that until we see it here so sixteen one eleven nine but I make a small adjustment click right there uh was that one click or form or go down again sixteen, three, sixteen sixteen one sixteen one sixteen one so you met sixteen see how that looks one may I hate being on the side of the camera by the way so I want to see how it looks with this the background we have no light at all but still want to sue this looks like wintering now I'm looking at this shot and figured it looked like on the model not on me it looks horrible on me but this is great on our model is variation and this is just paper found in the local art store but I think I like that what do you guys think? What do you guys think? So our prop is found in the local art store is just paper is a matter of fact you bring it to the other pieces of paper that we've picked up from the art store our props for the day very simple paper founding the local art store this is now my background my winter version a beauty my winter white, another texture winter white paper winter white I love having this around to play around after I get my main shot now we can play we have a room full crate owes my client the makeup the hair and now we can get great shots with these small simple props we looked at all those props that we decided on this one for the background and I think a little great with the model so I couldn't even bring my hair and makeup out to look at this shot and see that as inspiration when she goes back in the makeup so let's do that right now you could do that man thanks erin can I bring you away for a second? I assure you these inspiration for this shot are back on what had this feeling I just you disregard me here and imagine her what you think I love it very cool that would look really good on her I think so too very simple maybe we can also use some of that paper on her face okay made me like her lashes lashes with this may be just the lashes on lee might be enough to connect the lashes in the background way stands out let's try just that way just the lashes only and then do you think like a winter look like like snow goddess or do you think like a winter like holiday like I like more snow goddess vs holiday ok so that's good here I am telling her my version of what I'd like winter and I have this one vision in my mind but there's just think okay is winter holiday or is it snow queen so I could figure out what that is we discussed it and they were clear on it so thank you very much and now she's back to hair and makeup to create this magic on set I love this created part so let's take some questions doing this part because as you're talking to the model you're having this report the model the makeup the assistance is all one big cohesive unit all working together neither one neither one so I mean I know you had told us that this idea you have had a had ahead of time to do a second concept but typically does that happen just kind of happened like the day of you just decided you wanted to do something else something different I don't plan it a little bit um with my team they know I'm very, very often throwing things at them at the last minute I think about the entire night before shoot what I'll do after getting the main shop so I get extra stuff in the can so my mind's always racing should I do this you know that should I bring this with me sometimes it doesn't work but I have my main shot in the can now so now you think about creating extra stuff that could be better or a complement to the main shot because I shot the shot for the inside the cover but what my client wants a great shot inside as well inside cover or an image to go for a story on the inside now I had those options to get more work, get more pages and increased my visibility in the magazine so specifically with this uh this was their idea was that something that you had in your mind? You want to winter? Did you go out? See this these papers and I want to do winter? I had the idea for winter because here we are in november going toward winter, so I had the idea of shooting for that also for that season, not only for magazine you're shooting and thinking three months ahead so you should winter at the end of the summer but today we're shooting this is going live like a great time to shoot winter we're in seattle it's a little chilly outside raining right now and we're headed into into new york snowed last week so my mind's on wind that's what inspiration is another question here earlier I was basically thinking the same thing to you deviate from your story border is this just something that I just well I had my shot from the storyboard right now I can't dvd and get extra stuff, okay questions on this? Would you still go for the shoulders? Look or might we bring in one of the fur pieces or something here now it might rain for peace, it works it doesn't clash with the background I don't want to many elements in the for now might work basil blake her warmer to make your warm, owen said as well questions online uh, jeremy question christian and asked what if a team member has a bad idea? Oh, that happens that happens that's it that's it people have tons of ideas and they're not always great, but you know it's it's a judgment call from the photographer I don't want uh sit nicely, I don't want comments coming from everybody because I had my vision and on the director and people do give a lot of comments I'll usually say with my own analysis, the client don't answer a question from art by veda is when shooting a beauty shot on a plus size model. Is there a way to better underplay things like a double chin with lighting or is it mainly positioning is positioning? Also be sure I shouldn't go higher up shooting down verses I think we shot earlier they're not shoot down, get rid of the double shin I'm aware of all that as a machine and I haven't even lower I might have them want a chaise lounge? I shot a story recently actually where I shot a heavy woman and I had a girling down I had shooting above her so can decrease the vision of a double chin. So as long as you're cognizant of that and shooting and not shooting low or the same level, there get great shots and lin selection as well knowing how your lenses work as you're shooting, making sure that you're not using uh thirty five millimeter lens on a person who's heavier or even a fifty lens I want to use a longer lens like a hundred macro because that gives me a more pleasing shot. Thanks for that large asked do you ever create a beauty shot using natural light? And how does he handle the natural light? I like that yes, I love light and I have my set here, but they're very often times when I'm shooting in the natural light comes in and it's beautiful I did a shoot with the rupaul has rema rupaul and we're in studio but we had this people like coming through in a big window which is one gigantic source it was so beautiful so I stop using the natural light I mean my artificial lights turn my back to the window and put him in front of it and shot that as my beauty shots it was beautiful it's one gigantic source and so lovely like question from stephen, if you are shooting black and white, do you shoot in color first? And I also saw question earlier that was, if you're shooting where you know it's going to be in black and white, does that change your lighting decisions? It changes the way I try to look at it as black and white, and that was shooting digital and trying things from a color file into black and white through using, um, nick effexor, if you're using photoshopped, however you do it, um, I liked it more when I'm shooting and thinking about the tones so that the colors now looking about the tones, so the first shot we do is a test. I'll transfer that into black and white to see what it looks like in those tones and how it works and then make decisions on texture and tones because coz out the equation, light wise, who had changed that I like a punch your light for black and white, the flat light is not is nice to me in black and white. I want to punch your light so I might change this from being a beautician is the main source to being a magnum reflector. Can I have a magnum guys for a second? I think it's so interesting because back in the film days I would you think differently when you're shooting with black and white film absolutely verse which you d'oh versus color and I think yeah, we lose that way do but you're gonna think about it at homes vs color so this is a magnum which I love this and we use this tomorrow as our main light if I'm shooting black and white I might think about changing my beauty dish is the main light to being a magnum which is a punch your source there's also very this is um great questions we're getting great questions I love that you guys are thinking about that thank you so you would never do that in the camera you would always convert it afterwards absolutely okay, I was at the cut you want teo rich if you looked get the black and what you get from the camera and you look at using something like um nick affects those filters to may work best I still love shooting black and white on film because that's incredible and thinking in black and white as well who wants to shoot e o transform into winter wonderland now so get ready we're not gonna have austin shoot shortly after hair and makeup but we're still tweaking just a little bit so I want you guys to come one set for a second and have the seat as photographer I'm going to your subject as you test this out because as the photographer I don't want you to sit there for the first time with the model I want to be comfortable here first sitting there and testing it out working out all the kinks before the model comes on set and this is very important do all this before your subject gets here so you'll get out there and shoot it like, oh, I don't like this I don't like that you tweak it here first with your assistant or friend or whomever just to figure out how you want to shoot and how it looks so bring a camera and right there so you don't want that to happen right when she's one set okay, you should be ready to go so that dead time while the doing hair and makeup you are here testing, tweaking, seeing where you want to sit because right now you're off centre I know I just noticed that you're so fine what's good for you I don't know yet do your testing now at this point there's a time we can play around and work off your lights and your camera and figure out which linds you want to use this is the time how you want to talk to them and tweaked the background so two hundred is where we've been teetering okay? Yeah sixteen, sixteen, twenty fifth second you know you look much better here than I do three places thank you could coach her there I could touch from here alright taller than maryland so it's just what would you recommend seat up or is it just whatever the photographer's comfort what tartarus looks good thank you she wants taking classes are beautiful so the first shot you could look at because now we don't have the model here we're tweaking it and finding where we want to be with the shot santa's not detective camera make sure you are in check with nico so nickel we have body number two shooting now I just it okay so we're working out that let's take a question while we're working on getting her first test images up and would have students shoot shortly we'll have treatment shoot students here shoot and get them comfortable being on set and shooting a model john mccoy it asked what are the appropriate lights short light broad light butterfly rembrandt etcetera for beauty shots, fashion shots and what is your personal your personal experience? What he's talking about are all the standards when you're in photo school taking classes you learn these classic lights rembrandt lighting, broad lighting all this stuff I I learned the rules and then I break them and make them my own but you need to learn all of it everything from beginning to end learn the rules, learn the types of light how you make it and then decide what you like what I'm doing is not traditional at all I'm not looking for having that butterfly you know light or having that perfect shadow having rembrandt light I'm looking for smee and beyond that but you must know those lights and how to do it how to sit up learn the rules and then break them as you see fit but no all right uh this was a good question and sam it's from samuel who says I know this question would have been more appropriate for yesterday but when you want but when you were starting as a photographer were you hard on yourself or were you always skeptical when people looked at your work it said wow that's amazing your work is beautiful man ira that question really hits home when you're starting out you want to get input from everybody want anybody's to look at your work and in the beginning for me I was going to my brother my friends my photographers the other assistance and send oh please look at my work what do you think what do you think I did that a lot and then one day it's photographer who was uh I was working for was like oh look about what you what you think he's like matthew if you show your work to one hundred photographers you hit one hundred different answers sooner or later you gotta figure out what you like and become comfortable with that what if your vision is way out here you had this vision that's this big but a body you asked they're visions here he was uncomfortable with your own work and figure out what you like it takes time but learn to trust in your vision and how you feel and that they'd be your your guide trust in your work figure out what you like that means the world I think we're ready teo over here so good wow wow wow you're looking good like think so now you have your shot you figured out where you want to be this is tow happen before the model gets on sent you figure out everything testing it, tweaking it to make it perfect before she gets out here. Now you're ready to work now you can create because here you work about everything technically exposure the light every small nuance and detail that's a great shot with your glasses on, man wait one tree has been taking what I said you could do it very good, very good, very good that's a great shot on him. And now think about her in that situation you could do a lot of different things. You can take your background back a tad more if you want to see what that looks like okay, it doesn't take much let's go back six inches and now you are the director ok, so you tell me what looks good to you can you kind of bring it this arm a little right there thank you that's what we're talking about very good takes a second to come through but there we are it's a small change it's a little darker slightly off not as in focus their brand clothes is in focus is it competing with what she'll have on what color is her hair? Her eyes does it work? Do I want it to be in focus? What I want it's softer and out of focus and I take my background mohr back mohr it's more out of focus and it's not as define if it's close here it's defined and you see all the detail back here gets softer studio the shot there and you got me where you like could be bring the arm around a little bit this way top keep coming little right there thank you used to be an assistant again. So now these small tweaks your doing while they're doing hair and makeup making these small decisions on the spot to figure out where you want to be your sitting around joking around you're wasting that time and this is very valuable time to figure out where you want to be a canal look at these images with a clicker anywhere thank you man I can look at just the background element and see what works best if I could get it to work for me. Let's, try that again. Well, we'll work on the clicker while we're working on that second question here. Anyone here let's go online? Uh, michelle mcnichol has asked how far in advance do you book the models? The stylist places two weeks a month? How many shoots in a month? Can you shoot without being short of time? So I guess that's a second question? Who? Okay, let's talk about this month this month I have in the last five weeks I have seven trips uh, and this is what it's helpful to have an agent and producer because as I'm one place working, they're working on the next job next to jobs six, three jobs, so I'm showing the job sometimes doing a break. I'm casting online and calling my agent called the client is consistent when you're busy it's really busy when you're slow it's really slow there's never any in between seems like you're always thinking about the next job. My focus today is right here. Well, she might be calling for another job and that's what my agent can handle all that and run interference while I'm shooting, but my focus is right here and give my client the attention so in terms of just a guideline around how far in advance you do need toe sort of book the models stylists even if it's not you doing that like is it something you have away part advance it's never a month it's a week it's two weeks um yesterday last night after this I was um deal for my client I have what I leave here on sunday night I have another job next week one wednesday in philadelphia where I'm there for two days and then come back for night and leave and go to today so I'm trying to produce all that in between last night at the hotel and thinking about okay what I need are doing in the car nade is continuous you never have the leisure time of a month I wish is always a week two weeks and what we're schedules and tickets and planes and is continuous but I love it maryland yeah I just wanna let you know the internet is loving your shot thank you that's a great shot me with his beard is all perfect I love that I love that so nick will go back to images for me so here's our first image where the backgrounds closer more defined let's go uh ford one we're taking it back very much the same now one more our last was pulled back more so small out of focus do you want to see it for the back okay sounds good way have a guy first shot coming up next a second now without uh so what do you like better? I like it with the reflector. Okay, now this is a judgment call. What do you like better it's all personal? You like it with the reflector underneath without both work there's no right or wrong it's only what you like your decision let's try it with it back further that more out of focus what's your thoughts on uh focus and recompose focus on what we focus on the eyes on the dot and then you recomposed the image holding it down have you do that? I do that all the time because I was talking with different manufacturers aboutthe focus spots and where I'd like them to be and I always want more focus box and they say they always being centered around the middle around the edge with never farted out where I want them and I learned that they can't come out for that's why they're always castrated more in the middle on the outskirts but not far enough where I'd like them to be. So I'm always focusing and then compose all the time I think we all are we all want more focus spots focus points so now I look at your image you're losing the background now that's what I just saw it and I was trying so you got me and I'll bring it right back where it should be good let me check this one out, huh? Yeah come up a little bit this just small so bearing it for some tell me when key right there e like I just like doing all this in the meantime you get a lot of great shots of yourself yeah you have a facebook page now, huh? That's cool so my background I like the texture a lot I don't want to fight with the model having this distance between the model and the background works pretty well see the feeling of something kind of cool going on back there it's not fighting with her that's just regular paper right? Just paper from the local art store that's it there's just I've used my head paper wrapped around the model just paper it's just paper one light being creative let's check in on models she's doing about the process I'm very often going backto handbook it make up all the time and seeing the process and has as evolves making sure is looking the way I saw it in my mind's eye that's looking really beautiful and this is how the process works so that's that for second of course I brought this from l a and I showed this to my making bars this morning when they started the first look she first saw it she's like oh wow this would make an amazing eye, lash I didn't see that, but she did she's the makeup, august she's, the queen of that domain, so I'm like, you know what? That could work so now she's taking this this paper that I brought the same tape that we have in the background, sticking a piece of this and turn it to spot a creative element, to add to the model's face and use it as an eyelash. So now what? We're going way beyond just doing beauty, we're doing more creative interpretation that looks quite nice way are creating today, something special, and I can't wait to have her on set and show this to you, it's just paper it's one light and we're creating it all right here in the moment she had no idea had the paper this morning, she walked in and saw it, and she got an idea by the first, get my concept first and then go and play new other variations take a question, okay question from summer de gonzalez, summer says I have red and been told time and time again, that it's standard to take hundreds of shots to get maybe a handful of used usable shots do you still find that after all of your years of experience that you still take those hundreds hundreds of shots to get the handful no, no, it depends on the model as well with a subject if they're very comfortable in front of camera, they get better and better there's a very well known celebrity that I shot back in the nine he's and back then she wasn't as camera savvy and it took a lot of those hundreds of shots to find that one or two or three great images now when I shoot her she's very confident she's great on camera I can shoot thirty images and have fifteen that are amazing so there is no standard depends on the person and their level of comfort in front of the camera and you as photographer feeling it out feeling cause you feel you have the shot, you don't have to look at the picture to know it you feel it once you have that feeling and your congressman of that feeling and you get those images, you're done question from carlos when you shoot do you think about the right about the right post production for that picture? So are you thinking about how it's going to be done in post what has happened as huge and I shoot a picture in my thinking about post production usually not usually not I want to get a great shot first and formals I'm not thinking about post production until I find the right image I'm not sure wish values will be the full image we're just the eye or just the mouthful just a quart of the page it depends on the shot first then I get going to post production I know earlier you talked about the intensity of the eyes clear of r a she's one of our regulars here on creative life she'd like to know how do you recognize those great shots when the differences between images are so subtle it's always very subtle it's always very, very subtle you saw this shoot earlier with our model as she was moving it was very small increments and in reality to your eye there's like nothing going from here to here to here but there it's night and day I just shoot one hundred shots of ah great model and they're all decent shots but there's one or two that are incredible and that's what I want it's one of two that are incredible I did the shoot of tyrant we're doing all these shots is all this very small movement it's one that was just killer and she is the best it's one image like that the other ones you see the other shot like wow that's great too but one is killer question you you told us you nailed it in that last siri's her last set did you know one specific shot or did you just feel you had it within that serious did I know in that last siri's when I was shooting I felt at the very end that siri's was where I mailed it she wants to know if I found that one shot that I knew it in the moment I didn't know it if I had that one image bye fellas that siri's that was great and I had that one shot in the siri's then during lunch I would have looked at that last siri's there it wass in that last siri's you can feel it you have to always look I can feel it in the coming from shooting film you had to feel it you couldn't look on the back of a camera you had to know when you had the shot and cons would say oh do you feel you have the shot? We all felt it in the room like oh my god that was great you weren't looking at a monitor trying to figure out you had it you had to feel it I still feel it I knew I had the shot there and get used to that now don't look at the back of the camera to tell you you should know it before you look at the camera if you have that shock the moment really also a realization if this was all there will a solution but I would because it's just of the model doing very minimal changes then yes for all the the different makeups but each uh, makeup would be just very small changes very small changes very small change. If I'm doing a cosmetic ad, those changes a very small it might go from being a uh uh a bronze look to being a golden lode to being a silver look it's very minimal small changes take fifteen minutes versus what we're doing today. It just changes depending on the shoot. How do you talk with everyone in the team for me? A lot ofthe times happens and everybody so excited so they want to do so many things. I understand a lot of time you know the model will want to jump and if I sit her down she's just anxious and then the make up will be the same. You know everything, how they kind of keep it all together. This is perfect as this happens all the time you get creatives in a room together and they buy has their own ideas about what they want to do. You have your idea of what you wanna do, but in the mall comes and she wants to jump around and do this hair make you want to do this, you don't want to do that well, the storyboard comes everybody in line and calms all that creativity so we can get that first and get your shots and then you can go out and do other things but first get the idea you are the director is photographer you are the director it's your job everybody in line in focus and get the main shots you have creativity going crazy everywhere and all these ideas and always created people coming together you must control it as photographer the entire crew it's for you to the control and home that energy together and get your shop what's this story board is so important for the creation for the collective group coming together and working as one cohesive unit the storyboard helps you with the idea and with the execution you will get away from it I'll bring them to the storyboard and home and then once we have that they could do other things but we must get that first you're the director yes they are the team together each achieves maur this is a team but you are director get your shot first and then variations of fine and I love various is well but I want to get the shot first mail that then voice online online crystal berman has asked do you have any advice for composing your shots for magazine editorial spreads I've always learned to fill the frame but now that I'm doing mohr editorial work I'm learning to pull back a bit to give some negative space yes having little space for from magnesium content is important so what I'm seeing my story I am thinking about cover lines for cover I'm thinking about ticks it is going to go on the page or not and my client will let me know also can you pull back a little bit because photographers were always about the image your client's thinking about the layout as good that you know about loud as well so you can shoot for the layout so yes, you've got changed in school they are tell you like fill the frame, fill the frame but in the real world they want space for covers and text and all that now in photographer wants layouts that just show the image we all want that god knows I want that but the reality is you don't always get that so shoot you I will tell you oh give me more space here more on the right one the left that's the reality so what you've done we have to listen to a shooting I wanted to come into the same place and do the same thing so you're comfortable before the model comes on set so now you're ready when she comes here you feel good great thank you great the race you and the other is uh you're tethered here so let's be careful because she has his room space you find next you're changing okay? He would like to know what the difference is between shooting with a diffuse beauty dish or a large a large off the box as they're both said to be flattering light sources and what are the caveats both uh a lot of people use banks octa boxes soft boxes and people often ask me do you use a soft box personally I hate soft boxes you'll never see me shoot with soft box um it seems people like use it as a scapegoat to get I shouldn't say escape oh it's it's a personal preference I think it's too soft two flat with the beauty dish with my my cover over it it's soft for bit of a punch I like that so I learned that by testing because at first abe I usedto work for as an assistant as an assistant they I loved having the soft box everybody used a soft box I got tired of looking at that shot where it looked it wasn't crisp to me so I went away from it and I have sworn from using soft boxes so you hardly ever see me maybe never see me use a soft box that's my personal opinion my buddy what my buddies in l a he uses the soft box all the time and we argue about that photographer photographer meno ah question from paco how about the iris of the eyes being out of focus with the lenses of the frame being fully focused is there a tip to get around that when we're talking about focusing on somebody who's? Yes. I focus on the iris and I'm also should get f sixteen so I have this this space of focus that's going on from here from here to here I do shoot sometimes wide open I have this uh eighty five one point four lens if I want to shoot wide open and used the and being light not the stroll but the ambient light I can focus on just the eyes and anything else go soft if I'm sure we had a question early about shooting someone who's older if our shooting a woman who's saying her nineties I'm doing a portrait not very flattering I would not shoot at f sixteen I have everything in focus I would shoot wide open folks on her eyes like an old fashioned painting I'd focus on her eyes only lit the skin and everything else goes soft at one point four one point eight f to you can do that now very easily and it's beautiful it's beautiful so so to answer the question with regard to with the glasses again you are getting at the iris and because you have that extra and if sixteen I didn't have the coverage at sixteen if I met two point eight I don't have that coverage at f sixteen I have the coverage I have all that depth of field where all that's in focus from here to here you don't always need that that sometimes you want folks to be right here it's a judgment call but knowing what you can do to change and get your shot helps sometimes she didn't wide open is extremely beautiful you softer skin but your focus must be tax sharp on the eyes anything else falls out of focus very narrow focus taking another one okay and they'll let you go to be asked do you ever get the feeling and then realized that it wasn't it when you do look at it later oh yeah, absolutely absolutely you're not always right god knows I'm not always right for sure I have a lot of mrs for sure, but you learn each time every day every shoot you're learning so I'd do a shoot like oh I missed that one that's ammunition for the next shoot not to do that would go further so you're always learning it's an evolution this artist's life it's an evolution you are always in twenty five years I'm always still learning I learned from my interns my assistance from my crew from the team together each achieves mohr I can't say it enough it's a team effort and we're all learning from each other my interns they all know more about social media that I do they're teaching me and it's always changing anthony will be here, he knows way more about this stuff than I do he's teaching me that's how it is we teach each other we grow together together each achieves more tough this man to shoot because I want you to feel comfortable being here when she gets here I went to the different shots with so show me both show me but I was like really close on that a macro limbs yeah sort of ok ok before you shoot I want to say one thing something else that we did earlier we were testing our lights and I came in we were testing like to make sure I didn't block any light so I want to find out how far can come forward before I start blocking light but you're fine but we tested all that before too close a look you go on you start blocking like him, huh? So as photography you must be aware of all that and have your assistance aware as I'm shooting mustangs are doing this they're looking at me as I shoot they're not looking at the model and drooling there looking at me and how I'm shooting and making sure that I'm never going up and blocking my light or doing anything else their attention mike crew their attention is right here on me watching my back watching the lights while you make sure everything's going over the same time that nothing's going off that I haven't change by mistake from f sixteen with my finger to two point eight they're watching everything as it happens what I'm shooting well what I've found is that it's it's true big friend with the store its way I was curious about so I got a question last night on twitter where somebody asked me why would I used one hundred macro this is why so if you shooting with a lindsay it's not a macro lens you get that distortion the macro give me a beautiful look when I'm close lt's that's why the hundred mackerel linz is one of my favorite lenses we're going for a one o five uh now with one o five that's a great limbs one two and three nick okay we shows two images back to back once they come up so does work thanks sorry nico so here we have the one oh five which looks great and somewhere one second this one looks better stand yeah way lost the first one you want to take a question way we figure that out with a question okay, so a question from earlier from twitter from leech hee do you still experiment with new lighting setups and is there a new one that you would like to share with us? Do I experiment flights all the time if you talk to any of my interns they know we're always testing light's I've been doing that for twenty five years now um is there a new like that? I like a lot yes there there these new um hmm eyes made by pro photo that I haven't gotten yet, but I want it so I can play around tested. They're brand new, uh, there's always some new, um, tool or or like modifier coming out and I love testing, even playing around and doing new shots and seeing what I can do now that could do ten years ago. It's always changing and evolving, and I have to stay up on it. And I love this process of getting in there with my interns and playing around try a new life because I'm learning and they're learning for the first time. It's great to see somebody for the first time I had the light bulb turned on like, oh, my god, you could do that. This is great. I love seeing that. So I'm playing with my lights and doing new things and teaching my interns for the first time to see light it's a great feeling craig pulsipher would like to know if you have any tips on how an assistant should correct a photographer. Uh, that's. Good. Do I have tips on how an assistant should correct a photographer very carefully, very carefully. If you wanna keep your job as an assistant, so there's definitely a a way to act on set away to talk on set if you see them start to make a mistake you are very diligent about telling them right away and whispering to them not ah you're out of focus over here your focus just kicking exposure sometimes my assistance I have um a cold word for me to check my exposure they say matthew what time is it or or do you want ko checker or do you want another another meter reading? We have cold words for me to know to check different things check my exposure makes you haven't changed anything we have cold words on set there's a way to talk one said to the photographer and keep a body going smoothly the whole thing going smoothly and running so yes there's a way to do it and do it but be careful my sins are there and they're part of my team and they're there to watch my back make sure almost smoothly they put the set together the lights the jails making sure they buy has warned the crew the models they are my right hand and we work together I can't do it by myself I need my team that's how it works this is this is working now so here we have well let's try that again for me okay um if if I want to have more space so that I don't have to go so close then I need to bring the vault close absolutely then that would be what I negotiate is, well, I will have a more sharper background and that's it. You're just not quite that point. Do you want to have the focus fall off what you want, have the survey of this space and go either way is totally a judgment call based on the photographer and how they feel what they want. Well, we wanted to close it, but I think you wanted farther, right, this is it, okay, I would closer, so oh, oh yeah, I was about to get really good in here way god, that's still amazing, let's, try the first free thinking over her head or no around like you did before earlier. Okay, I like that pass, nice eyes, that's, nice way that one set for second shirt. So I think I like the texture. I like the black and white washing the same black and white feeling back there. I want to see that, make sure it doesn't fight against that.

Class Description

Join Matthew Jordan Smith as he delves into three days dedicated to fashion and beauty photography. Matthew starts off with an in-depth discussion on the differences in fashion and beauty as he teaches us how to prepare for a series of live photoshoots with a focus on capturing beautiful photography and telling a story with your images.