Commercial Photography: From Start to Finish

Lesson 6/36 - Shoot: One Overhead Light Headshot

 

Commercial Photography: From Start to Finish

 

Lesson Info

Shoot: One Overhead Light Headshot

I'm moving things around really quickly and so it doesn't take a lot I'm gonna actually bring it about here were raised us up we're gonna get a couple apple boxes and we're gonna shoot underneath okay bring it bring that no you're good you're good you're good but I'm gonna slide like this so you're gonna step up to the poulet podium we're gonna raise this out a little bit more okay we're gonna go one one hire one higher here okay one light folks and normally I don't use this lens so but we kind of wanna I'm going to be horizontal anyway so let's just give you my other lens there real quick and then we'll just I usually use myself twenty four to seventy for this scenario okay why don't we take that one off and then because I like to be really close to my subjects okay red dot to red dot when you're color blind I don't see the red dot okay we're gonna get right in here this is right over the top of my lands okay we're gonna get right in here okay you did good okay, so this is what I love...

right here so we're gonna get in here like this okay, now let's see what power we have here we're at eighth power I don't know if that's gonna be my power now if I had a flash meter what I would have helped me do you think a flash meter would help me? What a flash did me todo place commander tells me how much light is coming out of here and hitting the dome of the flash so that could say f eleven half twelve at whatever you're eight but here's what why don't you do this ready here we go one, two, three whoa oh that's firing and I'm at s o two hundred which I don't want to be sorry you gotta be smart I'm at three twenty actually so let's go back to one hundred s so we got to go to two hundred center speed at seven point one I'm still there probably be overpowered no maybe not looks pretty good she looks great this looks gorgeous look at that ok so actually a little under so let me go so here's the beautiful thing about this stroke I don't have to look at the dials I grew up here and go one, two, three, four, five that's have a stop so here we go ready one two three that uh huh she looks gorgeous one, two, three punch it just a little bit I might've gone too far on that one so let's go back one, two, three so I know now where I'm gonna push that I'm gonna push the skin as far as I go and come back a little bit just make sure have detailed smoothness I want to blow up the skin a little bit because what did I do? Cleans up the skin right? So what's the phil card you feeling under here? Um so here we go and this is this is the rapid box thirty six is rabbit box it's a great modifier at about me that's about what? Two feet to have feet so I usually take the size of my modifier so if I have a three foot modifier it's a good place to start at three feet two foot modifier two feet seven foot modifier seventy five foot modifier fifty it's a good place to start for this kind of thing this is westcott so it's a great is really simple it just mounts right it's lightweight not a lot of weight on top of your boom I don't even have there's no sand bags so you get to heavy that you got to get you to counter it here we go ready again love it a lot gorgeous brings bull shoulder straight on this is what I love right here yes I'm gonna back it up a little bit give me a little bit more that looks like look at the value of grey if I want a darker grey what do I do this away or push the background away or get a darker background no no no no I disagree so let's say I think that's a pretty good vent gray you know if I wanted a little darker which might make it but I could do that photo shop aiken been yet a little bit for the shop but this is a good this is a good value right here beautiful beautiful now do me a favor and just put your hands on your hips a little bit so I have a little bit of the slope of your arms now watch what happens here I know this is kind of an athletic pose but look watch what happens it might be a little too far backed up watch what it does it gives her a little bit more of those feathers and everything her shoulders or just a little bit more great do that chin a little cocky right there I love it so here's the thing if my shadow under her chin lip nose and eyes are not dark enough what do I do? Raise the light watch this that's about four inches watch what happens one, two three it's going to be darker come on. See that good or bad that's how I changed the mood of the shadow by raising or lowering my light so that was too much so um I think for me again right about over the top of lynn's here is perfect right there and she lifts up her chan it's gonna take a little bit of the shadow out let's do one looking down a little bit okay and then let's look at that and that's a little more shadow a little bit and if this is too much I can let's pull it out a little bit I could just give a little less here you see what happens so should darken it just a tad see there it is actually better that's actually better so let's pull it was do a serious right here ready one here we go have beautiful beautiful beautiful this looks great I love it this is my shot right here folks one light see how simple it is don't make it over complicated also think about this now the closer you have your life source the hollow where the chicks are going to be so that's why a twenty to its beauty dish size is really good could you get in real close and a hollow cheeks see oliver cheeks are looking there she's already got good looking cheeks wait let me repay phrase that she's got good looking you know following us here already but I'm I'm pushing that little bit pull that hair back just a little bit a couple more so what twenty two inch fish would he even hollow him even more so if you have ah model that's a little bit full in the face this is a great look to do right here this is this is what could be on any cosmetic get me if you wanted uh in terms of is before photo shop obviously so we want to make sure that we give josette red wolf credit for this or a shot out to the all this wardrobe we're going to use some more of her stuff in the next the segment, but she designed all the feathers and that wardrobe you're beautiful stuff and you can find her at ho set red wolf designs dot com yes and we're posted and we drop we're dropping the links into the chat room as well. So thank you, wonderful outfit here we've got and so let's do this. Any questions at this point? I'm sure we got the time. Do we have time for a few? So if we could just back up and get a talk about the concept so I know I've done this before and when you get in that working mode, you're just moving forward and you see, you're visualizing her and I know that you have are you do you have the background in mind now? Do you have the full concept in mind now you move for later for later the big picture concept? Can you talk about it a little bit? Okay, so what I'm gonna do is in this scenario, I might leave it is gray, right? But I can always out of texture I can always knock it out she's that blond hair and there's plenty of um there's plenty of room for me to do a knock out now john let's take that blackboard can we get it out really quick? I'll show you what I do on occasion I'll do this I'll shoot I usually just take this, but I'm using it as my you have black on one side here what we do is we just put a shot and go click then I always know that I can knock out her hair out of that frame and if I have another frame, it blows that I'm missing some hairs who this might be a good shot here is slightly this way a little bit so oh, baby, that looks pretty cool. Well, the machine on the black but I know now I've got a frame in my siri's of her that had the hair so I can always extract that and then I go back to my other scene if I'm going to knock out and I could just go and drop it right in his perfectly cut out, does that make sense? So that saves me struggling with a knockout that maybe didn't yeah here let's do this she looks great, doesn't she? Yeah, let me do it just do a couple while you give me good bright eyes here we go yes, like that who, man? Let me just go back in here all right? So I don't know what I'm gonna do later that's the other half of being an artist so I'm doing what I can here I cover my butt hopefully then later I start playing when it comes to backgrounds what happens is a lot of times I pulled background go no, no, no oh yes the marriage happens and so that's important later and a lot times I go to the background shot the last couple weeks, right? So I'm going through oh yeah I shot that one and I pull it out because I have a bad memory but no, I don't know one hundred percent of what I do and I like that I think that's great that we're watching your workflow and how you work so I think that's great to know that you aren't sure you know okay, cool well let's take another question so quite a few people were asking about using the models. Natural movements, opie's point had asked, is the style of washington models natural movements, eyes at the same way you treat all of your commercial shoots in the field? Do you like that are due I mean, a lot of people are very insecure about posing models and they try to structure and it just kind of season a lot of people up they get nervous it's the part that really breaks down the chute I think for me personally it makes me insecure so can you talk a little bit more about that if someone said could you write a book on posing I say no, I could not write a book on posing some people can some people are very where of all the different posing stiles and you know everything that's perfect how things work I don't know that hands but I'm watching it though so as I'm shooting I'm watching so let's just for example let's say I got someone and they're like this we know that's probably gonna work right? So I say okay um relax maybe just you know, maybe like this, you know, maybe like this but maybe like this on so I'll watch them and there's some like, for example, you do this to someone and they're like this I'm done ceos when they could not cross their arms they looked so awkward so you have to go with you know I look like this so that's why I so I say in my head I want to trust arm look the model may not be able to pull it off or just look natural, so that's, why I don't have it too well thought out in terms of what I'm gonna pose, but I do have it when I see it. See, I guess, that's, what I'm saying, my intuition takes over, goes that's, the look and some models will do, like, for example, do you know this, that what's the pose like they'll do, you kind of kind of conch a thing, right? I had one model do that, and it looked like the most incredible pose, right? So the next girl that came in the door, mike, could you do that? And when work couldn't pull it off, so my theory is that if a model feels comfortable doing it, then they can pull it off. They don't feel comfortable doing it, then it's not worth trying.

Class Description


Commercial photography can be a lucrative and artistically fulfilling way to earn a living as a photographer. Learn what it takes to break into the commercial market and create impressive and imaginative work from industry veteran, Joel Grimes.

If you want to attract commercial clients, your existing body of work must have a sophisticated and distinct voice. Joel will coach you through the experience of establishing your own unique voice and show you how to bring it to life through six photo shoots and their corresponding edits. Joel will demonstrate one-light fashion and concept shoots and take you back to the desk to composite and polish them. You’ll also see Joel shooting product and portrait photos using a more elaborate set-up. This course will also cover the business of bidding for commercial work, effective negotiation tactics and final delivery.

If you are ready to break into commercial photography or up your client game, you won’t want to miss this complete guide to shooting, editing and delivering commercial work.

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