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Portrait Shoots Recap

Lesson 31 from: Capturing Story in Portrait Photography

Kelly Brown

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Lesson Info

31. Portrait Shoots Recap

Review all the images from the live shoots during the culling process. Kelly explains why planning the shoot helps to prevent overshooting, and what she looks for when selecting images.

Lessons

Class Trailer
1

Class Introduction

14:28
2

The Power of Portrait Photography

06:52
3

Introduction to Newborn Portrait

08:30
4

Find Inspiration for Newborn Portrait

11:09
5

Create The Scene for Newborn Portrait

05:58
6

Prepare & Pose Newborn for Portrait

18:03
7

Shoot: Techniques for Photographing Newborn

08:58
8

Newborn Image Review

08:57
9

Introduction & Find Inspiration For Child Portrait

13:03
10

Create The Scene for Child Portrait

05:17
11

Prepare Set for Child Portrait

05:48
12

Shoot: Capture Child Portrait

11:40
13

Image Review for Child Portrait

11:45
14

Introduction & Inspiration For Teenager Portrait

09:05
15

Create The Scene for Teenager Portrait

06:15
16

Building Set for Teenager Portrait

14:01
17

Shoot: Portrait with Teenager

10:43
18

Shoot: Pose Teenager for Multiple Looks

14:23
19

Image Review for Teenage Portrait

08:11
20

Introduction & Inspiration For Adult Portrait

11:31
21

Creating The Scene for Adult Portrait

06:25
22

Lighting for Adult Portrait

04:51
23

Tell Your Subject's Story

04:38
24

Shoot: Lighting for Double Exposure

16:22
25

Introduction to Senior Portrait

08:39
26

Create Storyboard & The Scene For Senior Portrait

10:26
27

Connect With Client to Create Portrait

16:06
28

Shoot: Lighting for Senior Portrait

08:10
29

Shoot: Be Creative on Set

15:09
30

Image Review for Senior Portrait

14:23
31

Portrait Shoots Recap

04:08
32

Global Adjustments in Camera Raw®

05:37
33

Editing In Photoshop® CC: New Born Portrait

24:41
34

Editing In Photoshop® CC: Child Portrait

15:35
35

Editing In Photoshop® CC: Adult Portrait

11:32
36

Editing In Photoshop® CC: Teenager Portrait

11:28
37

Editing In Photoshop® CC: Senior Portrait

13:46
38

Introduction to Entering Print Competitions

02:14
39

Process of Print Competitions

06:17
40

What to Consider For Print Competitions

17:00
41

What Judges Look For Overview

07:14
42

Image Impact

03:42
43

Creativity, Style & Composition in Images

14:04
44

Entering Photography Competitions Q&A

22:50
45

Image Lighting

05:43
46

Image Color Balance

03:56
47

Technical Excellence in Images

07:56
48

Photographic Technique

10:15
49

Storytelling & Subject Matter

09:28

Lesson Info

Portrait Shoots Recap

This segment I'm just going to show you a few things that I go through, when I'm photographing, sorry, when I'm editing images that I've photographed that are a little more, sort of, fine art in that sense, that they take a little more, you know, tweaking in Photoshop to really tell that story. So, if I'm doing a normal client image, and it's an everyday, sort of, baby in my studio, I've got a very quick, fast process when it comes to editing and I like to streamline it as much as possible. But when I'm creating photographs like this, I really want to take those images that next step further. I want to create something completely different. So, I've gone through and I've made my selections as to which images that I wanted to capture, and if I have a little look at how many photographs I've actually taken, down here there's only 35 photos. So, over those four shoots, I've been very particular about what I'm going to capture, and I've shot with purpose and intention. So, I don't tend to ...

overshoot. Now that's just me personally, I'm not saying don't overshoot, but I'm at a place very I'm very confident in my abilities when I'm handling my camera, and also understanding the direction of light. But I think when you go through that mind map and that plan, and when you know what it is that you're creating, and you've worked through every step towards creating it, and you've thought of, actually, every element that's required to create that photograph, you can just walk into that shoot and be able to take that photograph, without having to take a million captures. Does that make sense? So, that's why I don't tend to overshoot, but also, it saves me from having to go through a million photographs to find one or two to edit. So when I'm creating these story-telling portraits, I'm not going to edit, like we talked about yesterday, you know, a massive gallery for them, I'm working towards one, beautifully framed photograph that's going to go on their wall. So we'll talk a little bit about, after I do the shoot, I'll show them the captures, I'll talk to them about the different expressions, ask them which one they like, so you are able to sort of see with Janice, you know, when I said, "like look at those photographs," and she said, like she made a comment about her age, things like that, but when I sit down at the end of the shoot, and I go through some of those captures with the client or the model, I'm looking to see which one stands out to them. I'm watching there reactions to see which photograph really speaks to them in terms of their expression. Because I know when I have my photograph taken, the photograph I pick, might not necessarily be the photograph that the photographer picks for me, and it's, you know, maybe a little bit of a control freak in me, but you know, none of us really like being in front of the camera. You know, we're very picky about ourselves, and we're our own worst critiques. So, that's why I like to incorporate them in that process of what images really speak to you, what expressions stands out, which one do you love, which is your favorite? And then I'll start to look at that and go, if they go, "Oh, I love this sort of set-up, but I love my expression in this," I might do a head swap, because they can't always have the exact same expression throughout that shoot. So, I'm always listening and learning because, when I deliver something that exceeds their expectations, that's when I know I've done my job. I'm not just wanting to kind of, you know, for them to go, "oh that's amazing," I want to blow them away. Because when I blow them away, that's just going to create, more interest in what it is that I'm doing, and get more clients like this in the door. So, that impact that I leave on them is really, really important.

Class Materials

Bonus Materials with Purchase

Mind Map & Prep Guide

Ratings and Reviews

user-2c88c4
 

Among a sea of wonderful teachers here at CL, Kelly is the cream of the crop. All of her classes are outstanding and this one is no exception. Amazing teacher. Amazing class. Amazing education. If you are hoping to stretch yourself to create deeper more meaningful stories in your images, or are feeling the pull of print competition but need some direction, this is definitely the class for you. Thank you Kelly!

Melissa Soto
 

Kelly Brown is a true inspiration. She has been my idol in this industry since I began. This class was amazing. I love how honest, authentic and genuine she was. But most importantly I loved her wise direction and teaching style. Kelly brown thank you for this gem. You helped light a fire in me. I’m so excited to start telling amazing stories with the skills I have learned from this class.

Marjorie Stevenson
 

Just loving this class! Kelly is one of my favorite instructors. She is very good at articulating her ideas and carrying them to an absolutely wonderful end product. Her images are always stunning. I love that she always puts safety first with her models. Thank you Kelly for sharing your creative visions with us.

Student Work

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