Shoot: Gatsby Look Part 2

 

Experimental Portraits

 

Lesson Info

Shoot: Gatsby Look Part 2

All right, so now I'm gonna get just a little bit further back so what I would do if I was changing outfits out is again someone mentioned all about why did you shoot the same background for life for this one for the story? Because it's a little dark here it's a little bit more experimental it's more like italian vogue I would say but that kind of thing that you can kind of get away with thinking outside the books shooting differently shooting different backgrounds so I'm not afraid on this one to kind of third out of it because the consistency it comes within the model and the cloven and the theme okay, all right, I'm just gonna maybe try the gold side a second. I just want to see the war from that because we kept this is more warmed in the first one it's more of a warmer, unusual time okay, allie and assumed here so when a test that with the light okay, so this is a little dark in here, but yeah, so I'm gonna go well, I'm going to go down to two point and see where I am with the on m...

y picture and if you come with straight onto the mirror again yeah, I think the closer you can go to the edge the better the light will be sorry to the background that's it great and you can put yeah it's the lower you can go with that because it will bounce that reflect the better you can put your face to me yet and if you can go completely straight it's hard to say him here because every time I do that, you'll probably think I'm going opposite way but how you won now that's it yet perfect just hold that for me you just need to make sure I'm on your lies on again. Lars, have you noticed she's switching to scold side of the reflector to compliment thiss actually no gold it's, half silver and half gold leaves likely back again, so I don't want to get that corner and that's it it's just if you just put your chin up to slightly just because of the light great, you know, if this wasn't being recorded were probably playing the great gatsby soundtrack way actually, that is a question that we get a lot. Do you play music done said, how do you kind of create the mood for the world's like this? And actually it was something that somebody asked earlier, and I forget who I apologized, but like, if you're shooting a kind of a darker theme, you know, are you still keeping it light in having fun on set or are you trying to match the mood to the the image I think depends on our moves doesn't like it depends on the way that we feel sometimes you want to go in with this kind of gatsby, star music and a bit of, you know, to get us in the mood and it's sometimes we want to put like, a cheesy old nineties like disco stuff because we all kind of reference it or the model will make suggestions or put her ipod in so it's really kind of what the mood of the shoot is and how people's personalities are so you don't try to actually d'oh, you don't try to actually make the model sad in order to and a healthy smattering of bad jokes from felix is a little bit more that way yeah intend up, carrie see lara switching between shooting directly from america? Yeah, and then to hear because I like the mirror, but I also want some striped awnings without the texture as well. So if I was shooting this in a location house, which we do a lot for a lot of my chutes there's so many areas that usually okay, I'll go ok let's, try here let's try here that's right here, always given myself a cz many options as possible for when I edit later on location houses that house you can rent that has themed rooms, textured walls, lots of stuff on once you've visited them all in one area you see every commercial, every shoots, everything is shot less up to here you recognise alley it's nice because you had a blending with the background with your hair and everything is really pretty and yet chained up and kind of got to him yet, so we're just following the light as much as possible with the chin up, and you'll see she's giving me a cz many poses possible this is what's great about working with professional models, but also gives me an opportunity to say, okay, let's, try this because it's not quite what I came to always see, it helps with very few to be able to see she's also kind of doing great that's being yeah, she is and that's another good point, because as soon as you put models into certain themes and clothes that kind of play off that as well. So it was great about having such strong themes on set face it our way to this mine, so kind of like because I'd love to see like the outline of your hair from this side so kind of like more of a pre fall yet it's great valley beautiful, and I'm just going to move myself the way of the angle of the light as well, felix, if you come for a little closer yet we just want to try and get that catch light in your eyes it's kind of difficult because it's darker but we can see something it's just that so we just moved it up to get a catch light in her eye and I'm just playing around with portrait and landscape landscape is well if I was doing a fashion editorial the reason I would do landscape is because of over two pages I always want to try and get the two page as well beautiful ellie would you be thinking also about shooting for cover? Yeah and a good point is I know it's not a fashion photography workshop with just an example whenever I do wish story I'm always shooting for cover even though I don't make the cover and the reason is because this has worked out a lot for me where sometimes magazines don't know what they want for cover and all that means is shooting from here giving myself a gap at the top and I'll show you in a second so that it will be room for their fun and automatically they're like oh, that could possibly be a cover for us for shaming sample it even that can you just put your other hand office more great? Thank you so giving myself that much of a gap at the top of the screen all right I'm just going to move back a bit and get a few down teo the leg too, if you step over just slightly that way. And felix, if you come a bit lower with a problem, you've been really nice to you. The team is also good because, like she'll know more about what you guys thought about gatsby out there and they're all helps to make her kind of just move it it's gonna get my crystal against good. You've got pocket some kind of test with the crystal again, again, experimentation see what works because sometimes you just get that magic shot that works really well, ali, as much as you can kind of put your head up to the light it's better great there's no softer light than your giant soft ofthe sky. Yeah, and if you just crossed legged the button leaning tio beautiful and then some kind of just to the side, like facing the bull yet, and then some just kind of this beautiful and chin up a swell. Okay, these two are in this zone and try a few doubles really hard to focus, but and all I'm doing is just keep twisting this crystal to see where it will work best. You're moving around quite a lot. Yeah, I'm needa lot on set that also get an idea of what works for this specific set up and what doesn't like I can feel you now kind of honing in on something ok, what I would like to do then um aaron, how many more outfits do we have for gatsby? One more and I would love to get show them how to do the plastic yes put the vastly non is like an option as well. So what is it again what we're going to do when we're going to be showing how to set up a piece of plexiglass plastic that was going to scratch gasoline on just to show you because it does sound obvious but I think this sudden ways no, I should go into people would love to see her having it that's why she may have to help me this the quickness yes, absolutely okay there's nice selene and you're gonna scratch it because I don't trust my lovely all right say I'll hold it you can do the best thing first okay? So simply just got some gasoline really easy to get it from any like chemist or store and I'm gonna use just a piece of tissue toilet paper on that tennis fine I just get a big blob with it I feel like come on like an odd attack and it just came just rub it really roughly onto here and you don't want to kind of over do it can you see that? Okay yeah yeah, you know what kind of over do that? You just kind of want it so it's like smudged and it doesn't matter how messy you are with it and what I do is I tend to just do like half of the board because I want an option later run for it just being clear a swell and we even the production assistant had cut it and he kind of scatter shattered here he's like I always had a problem and I thought now laura, but we love it and shoot through that so we just kind of left it and then sometimes because right now it's like, really smeared with gasoline so usually I get just simply some water which I'm just going to get from over here uh and just kind of put that on there and just rub away some of it said and it's not so smeared because we want to when we're focusing through it with the lens we just kind of want to move ourselves around, find a good area as you can see it's a very, very technical technical here. Okay, so that's looking good. Okay, so felix, you already right? So we did kind of a little out, yeah, it was kind of like a french it was a very message you can do this for us, is it catherine was kind of like that yes when you go on a low aptitude it'll kind of blow out and just create weird light things like that so we just kind of and then you have level different areas that you can use too kind of and I'll do wanda ls this is something you can keep in the studio really all times and if you light it sometimes if you light with an arctic kind of spills onto that so when I was showing you the gatsby three images early that I did it was great because the light was kind of seep in and reflect from this and it was a really interesting element for us well wasn't it tryson just just keep your hands that's the last thing we need way the first time someone's done that presently fun actually yeah okay hold that first like this no one gets hurt good right? And what we're going to do laura is we're gonna mount understand okay? Because all right, so we'll ugo take questions alright can amount that understands it is easy for me to shoot through but while they're studying us they're getting changed. I'll take some questions maybe from you guys know we had one here in the audience I know today we're kind of pausing in between so models can change we switch out backgrounds but when you're honest you what is it like that on a shoot are you are your background already ready to go and you just kind of move from one to another always like that the most waiting time is it's usually like ten minutes of shooting and twenty minutes and out change and if I have a two cent outfits that usually more waiting time than shooting but the harem makeup is a a really big pot and especially the clothing, so as long as I have the clothing no beautiful and thing, everything else kind of comes together, so even on client shoots but that's expected like the client noise that there's going to be down time. When I was shooting my last littlewoods job, this celebrity would take about I think it was an hour waiting for it standpoint, and when you're working with talent like that and people, the aunt models and people that you know it, celebrities, you have to just wait for them and when they're ready and you just got to be ready to move and, you know, I think on a creative set where everyone is in the industry, I think people are they're very expected that there is downtime and everything so yeah, the proper term for it's hurry up and wait yeah, felix, you wanna explain the standard second because I think if people so this is actually called a c stand now for many years no one knew what that meant and I found out it's a company that used to make it called century so they call the system has three legs it's supposed to be stable that's debatable but actually is on dh I have an arm on here in a clamp it's grateful mounting all kinds of things onto you know this kind of jerry rig set up but my kind of assisting thing that I tell my assistance is if I'm holding something let's find a way to put that on the stand to reflect that is really difficult because of surf like even a thief that even if you want the beef like kind of on an angle this is perfect to kind of get that yeah, a lot of times yeah we're putting boards in or cutting like out with my wish to get teo get these on my own thank you always for my having fifteen holding things that could just be on stands and it means your assistants are happier at the end of the day well, this is a great way to do it if you don't happen to have an assistant yeah around you can still do these things that's your assistant skinny insistent you have more questions here in the onions yes, I know that you're saying preferences a natural right hand the low temperature it's no enough days hell for leather confession yet would you submit this to anything? What it just becomes her people went from magazine. It depends on the magazine again when we look for fashion magazines, it's about what type of photography that magazine accepts. So if I was to send us to a magazine, I'd look at something like italian vogue. Obviously you can't really submit to them, but I'm trying to give examples of, like, italian vogue or, like the korean vogue there's a lot of kind of magazines that do that kind of salt like doi that have the darkest all this wouldn't work for more of like a a lifestyle like oven outfit is stall like free people star shoot because they would obviously want to see more detail, but for this it's more artistic, and I think it's, just important to look kind of like the guidelines and see what other work is in the magazine before you submit and maybe one more just before we jump right back into it is we get clarity again on what this material actually, is it plastic is a plexi glass, and then where can you find it? I think I did us a plexiglass. It is actually plastic, but you can also find this with glass and you confined in d I wife stores, I think, in the insulation section. It's gonna be the insulation remember going in time deeper and they had a lot of different sizes and that's where I got mine from it's pretty cheap to get a few feel studio into kind of ad you can even stick things to it it's worth having a swell and it's just when you go to the shop one thing to look out for they have here a plastic sheet on both sides so looks like frosted glass when you buy your appeal that she off and I made that mistake your state I was like what is it okay all right so I'm just gonna get you in the alley and then we're gonna move in this all right? You're just gonna go to your little area okay? Okay feeling you shouldn't know you're going quite close all right let's try it that's what we want is I'm standing here we wanted quite close to the lens so we can move about this well I'm going to take a few shots you can kind of see and then I'm going to start to move it an experiment too all right ali exactly what we do and chin up to the light just a little so exactly the same settings have not changed my camera set in yet okay nice and again this kind of goes along side the mirror I do it's all about reflection and leaving things so getting mirrors and glass on set it's really cool sometimes we're trying to create things that are out of the ordinary we don't want things that are everyday life so that's what we're trying to do with these elements of the shoot we wanted quite duck experimenters mature she can beautiful early with her and I think what I'm gonna do is just first impose is that you and you kind of read from that so let's try crossed on I always saw it with like a straight to the side straight on some kind of experimenting at first what angle suits and I think for this just about the hands again it's always about the hands for me to face up to the side and there's no wrong poses I think you'll learn poses I just keep going through keep shooting, keep research and feed and kind of get ideas from your models as well because they'll give you they'll like teach you how to pose models in the future okay arms crossed him up and just kind of put your leg over again kind of having that leg over a kind of story on it's kind of elegant it makes the legs kind of stay together and not to separated beautiful it's moving around as much as I can to find an area that's not so blurry on the face but it's blurry everywhere else and again as you see I'm manually focus in because I'm moving around a lot you're going into the scratch here yes please that would be great I'll use the silver side uh the warm side is fine yeah because it's kind of more of a warm image itself so that it might yeah that's just a really nice highlight trying to find some of your scratches gary yeah come farther away in the further away you get them or a parent the marks and everything are the further you get in a special shooting within white opportunity more blurry they are he could probably see the corner of the glass here what felix mentioned earlier and how that works there are no rules and you'll see there's definitely no rules when it comes to experimental portrait and half in the glass and half out and you kind of see how that blacks great allie and maybe could we have some movement somehow I don't think we're gonna get wind movement because the beads of heavy but if you just shake it up okay so even though it probably feel silly for her to do that just by her crossing her arms in a normal clothes into shaking it up like that I have some movement to the bottom of the dress that's how we make made wind with the board yeah yeah that's a good idea actually expensive could you hold this when we do want wind on set movement usually has silas spring boards or they actually wink leaf blowers that's what's called a set like this big kind of like leaf blower that you get from a day away so and that kind of it's really cool to kind of blow the hair of the face but even with thes just kind of left in it and just want to show nick yeah thes because I can really control it this or using my you know, it was the least movement just to kind of laugh the hair and that's what we're doing on yeah, we were using ahead drive but it kind of justice one like one jet off and kind of this I think creates a more natural kind of wind definitely okay, so it's trying so you would just just kind of need this back for me? I said, do you want to come here? Is that more helpful to you and then put it in yet that's it and it just blows that hair up off the side and just like a hint of movement is sometimes really special to the image as well it's really hot in the studio like suit and when we're shooting serious that it was really warming she loved it all right and ali, if you move a swell so if you like this just kind of fast movements like that until you get bored of it and then that's it great keep going beautiful and you'll see I'm shooting quite fast, but it adds some kind of movement to the dress, so it kind of does this. Just let those load before I keep shooting, but you see it the bottom. So that's what? We're looking for it, I know we're not shooting to the clothes for even if we were it's about the movement getting the best out of the dress and this would sell the dress in its best light. Okay, keep going again. I'm just moving myself. So there's a lot of elements going on this movement there's, wind and it gets kind of complicated, but all of a sudden you just get this special moment. That kind of comes together. Beautiful. Okay, just a bit more of that. Just lovely. This just slightly. And I'm not creating any gale force winds kind of doing some very can you go closer to the light there? Yeah. That's it it's moving again is this. Yeah, we've ever just smash this mirror here, just just this second, all right and the same thing. Al eating great. Perfect.

Class Description

Bring your most imaginative ideas to life with Lara Jade and Sue Bryce's dynamic workshop on illustrative portraiture. This course will stimulate your creative senses and show you how to produce magnificent conceptual fine art portraits.

Lara Jade started her own lucrative career as an international fashion photographer by doing experimental self portraits, fine art and book covers. Sue Bryce is a multi award-winning Illustrative portrait photographer who specializes in creating beautiful images that look straight out of a fashion editorial. 

Lara and Sue will break down every step of their process — everything from scouting for creative props and settings to styling and shooting your portrait. Finally, this dream team will bring all the elements together in Photoshop and show you how to polish your raw photos into pieces of art that reflect your own unique imagination.

Reviews

Susie
 

fantastic to see Lara in this; she's so natural and inspirational, and so generous with her resources. I would love to see her do another course, maybe with Felix too as I love his lighting and creativity. More, please!