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DIY Fashion and Editorial Photography

Lesson 10 of 31

Shoot: Conceptual - Butterflies

Amanda Diaz

DIY Fashion and Editorial Photography

Amanda Diaz

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Lesson Info

10. Shoot: Conceptual - Butterflies

Lesson Info

Shoot: Conceptual - Butterflies

How are you feeling if you sat you want to try it and if it's uncomfortable tell me if you're not like if you can't breathe in that thing yeah good ok first I gotta cover it with tool because I just don't want the wood to really show so I'm just covering stool to make it a little more um going with the background on the dresses and things that she's got to honor addresses it is you don't have any black cloth in here I guess yeah okay, maybe we'll do that real quick um can I just here I'm gonna change something here wanna pull this back one side just changing her hair a tiny bit because I don't really want it like a side parts because do that already let me see yeah it's good so yeah, this is another love this dress let's take some test shots while we're waiting for the cloth and then well that comes we'll fix this too. Oh yes, please now same thing is before theo gets over here more in the middle just a bit we have to pull it or no, I can't see it from should you uh maybe go back just ...

a step this temple is still back yeah let's see how this looks a little too blurry butterflies just trying to make the butterflies not so blurry and how are you doing oh sorry happen sure I wasn't like one point two I think on the first one and now I'm up to two point five but it's not really it's not really going anywhere we'll probably have to get you to go a little closer to the background just a couple steps and see how that looks yeah that's perfect that's better yeah okay. All right. I want the tool so yeah, I put the two over it all right so I'm going to get you to sit yeah oh, wait sorry nevermind let's put us just like twining around you okay, go ahead can you sit there? I won't shoot down below. Good. Okay, um can you put your feet on there at all? Yeah how's that is that comfortable? Yeah. Is it tight? Okay, I need your help come over here just one right back. Okay. All right, so we'll get started with this and we'll let your feet come out a little bit because they're kind of scrunched under there. Um you know what? Um yeah, tom where'd you put the butterflies over here? Sorry. I want to put some of these on her. You pass me some looks pretty so I want to try put some on you and see how this looks if it sticks, I gotta press down a little bit if you don't mind they might fall of it but so I'm just playing around this was not an intentional idea I had but during break they stuck someone for us and it looked really good sorry okay I knew they were going to do that preston this one doesn't have any grid line okay so you could take this one and there's one on the ground okay figure out a place on off sorry I'm like mingling you okay let's try do you want to just actually hold this guy and you can kind of like use it as if it's like write on your hand and you know what you just pinch it like this in between your fingers which one it's okay if it once it falls I'll try to fix it back but yeah it's pretty okay good so we're going to just do some portrait shots first I won't be doing the whole thing just upper body more more for this get started can you turn your head more towards straight on at me yeah yeah that's real pretty orbs the's guys don't like to stick around here what's going on that's not changing that one working yeah okay this one was this one that was in your home before I know that there are a lot of you who are asking questions about the butterflies where we got them how sticking on they just got a little like bits of adhesive on the back so they're not sticking on with anything fancy leave the ones on the board or just pinned on again, kind of similar to how we did with the flowers but we are trying to find out exactly where those came from and we will let you know as soon as we do find out. Well, they don't really want toe behave today. Okay? All right. So with that one in that in your hand, we're just gonna make sure it's sort of like, you know, more visible kid that's pretty don't you have a lot more good? Uh, sort of back, like, into the center. Good. And you could bring her on down to it doesn't have to be up the whole time. Just even you could touch your arm and just sort of the week and see the butterfly. Yeah. That's pretty. Do you want to bring the chin and kind of like, looking down into me a little bit? Yeah, maybe even close your eyes just to that. Yeah. That's pretty. All right, look that way. Like you were good. Nice try to back up and get more of the wall. No. Yeah. That's pretty wait, can you let your feet down and just relax? Kind of like pole is this is a stool too high for like to set your foot right on the ground. Or hang I don't know can you sit more towards the edge of the stool so you can kind of actually have your feet yeah well that works yeah that's what little good we'll turn it flat way like the other way yeah that's good and then sew with your feet again we have to be very like pointy toed and very yeah just kind of relaxed fit that works yeah can you actually bring one foot back sorry being like not all the way back so one foot is sort of like this can you kind of point your toe yeah so uh you okay lift your foot up and then bring your foot here just like this and just kind of pointed downwards and this one is just like that yeah that's good that's a nice poles bring your shoulder up like you were sit down here yeah I do want even curl up a little more just sort of unworthy up good it's pretty nice anybody has any questions you can let me know um want to turn your head maybe actually turn your body a little towards me just kind of keep your feet in that same style but just more but this way yeah yeah that's pretty yeah and look out the window like turn your head so I get your profile again but not your head tells about your like this just straight yet good nice just going to get a little lower that's pretty pronto load we'll do a few more on the stool and that I'm actually just gonna eat a stand a couple more of these yeah that's looking pretty um do you want to turn your body a little more towards me this way and you know what? You can do this again like how I had you with your ankles before yet and just very painterly again we'll try a couple of those yeah good point your toes down more if you can no, it doesn't look right sir I'll take the shot uh don't worry I'm just gonna shoot it from the knee up instead so just the same same polls yeah good. No one I'm just stressed out a little bit scary for years with him that's nice and even with your lips and stuff will just let you live three locks and just sort of remember when you were earlier and I had you you're hot you're using your hands around your mouth and stuff will do some of that too okay with the butterfly and just I'll let you keep moving um just do your own little thing now and I'll just take so shots of its kind of move around good good so a few more frames and then we'll get rid of the store good so I'm just letting her door thing because she knows how to pose I am directing her too but after I get the shots that I think I want, I just let her do her own thing because sometimes sometimes the best shots are amid movement believe it or not shot that is not a planned poles or that you're not trying to actually get sometimes we're the best, so we'll get rid of the stool and amanda now when you're shooting this, you've got it so the depth of field is shallow enough so that the butterflies in back are slightly blurred out eyes that intentional are you? Is it something that you do to keep it more dreaming or what's what's the reasoning behind the shell and feel I do want it more dream me with this I don't want it like tax sharp and I just kind of want them there I am going to do somewhere she's pressed against a wall now, though, so she's going to be a little bit closer to the butterflies and we'll try it that way because when I'm goingto edit this, I'm going to cut the butterflies out and pull them out a little bit, but we'll see that when I do editing. So yeah, just a reminder for people who may have just been joining us that on day three is when we are going to do retouching and editing the final process on these images that we're taking today and when we shoot tomorrow, okay so a little bit more back um that's okay, we don't worry about that one yeah and you know if you want you can even play with your arms and just sort of like, bring them up and just do your own little thing there against the wall that's nice I can't good can we do some where you're just very like straight on at me very doll like just like stiff almost yeah it's pretty and let's do want turn sideways, char couple of those yeah like that well, I just fixed her his hair in there it's getting everywhere just kind of it's pretty looks nice this guy load like that one. So, um where is that black cloth? Um uh cloth I'm gonna both we're gonna you know how I did with the blanket? Well, let's put the black cloth and then tool over top of that so I'm gonna try to get some more of her body in there any more questions or anything? Lord, I know. Sure anything up here in the room now I noticed earlier when you were shooting her kind of lower you could see a lot of the floor. Is that something where you just plan to crop it or do you then plan teo extend the floor? They be black floor out in photo shop like when she was on the stool I'll either or all crossfit or if I really like the whole image I'll try to fill it and I'll try to probably paint or clone some of the cloth in to fill in tow hide the floor that's good so the reason I'm putting this stuff on the floors because like I said the wall is not it's not like a backdrop it doesn't go from the wall to the floor so I have to kind of trip create something else in its place good I know it's all twisted yeah there you go they're just fluffed all over the place all right oh I might have to put the fifty back on let's see how the schools you know do you want to try to go on your two peoples and sort of yeah like this just because I don't want really shoes with I can count to three and then you do it then you go up okay okay one two three good you can let your feet relax for a second um turned towards me and do that if you want to do this and face straight on so get your feet ready and I'll count to three and you can pop up good okay that's pretty and you can even pull a foot out maybe if you want kind of likes extend one of the good that's nice yeah it looked towards the tv again want a shot like that? That's really pretty load butterflies nice how do you feel would you be sh like ok to, um kind of not dance but just sort of move around a little bit like and just like nonstop movement just almost not dancing but sort of like a ballerina yeah and I want to take some shots you okay with that? Okay just kind of move around like you're just so one spot and just sort of like play and we'll just kind of yeah, good just don't don't pause yourself right stay in the middle more cool back towards you yeah good even kind of twirl around like, turn around and turn your whole body around like a whole circle yet yeah, I got here any questions, right? Yeah, I got a couple questions from folks wondering whether you d'oh tether when you are, uh, shooting for yourself do you ever have a monitor due on set? No, even when you're working with a creative director or never, this is my first time. Nice. No, but I probably need teo get on that. No, I don't know. I just because I should soul quick like I just snap, snap, snap, snap and then I'm moved on to the next thing so this is I'm this is a little learning curve for me to sell myself down here yeah, all right that's pretty yeah you know what let's do some of those and just I maybe I right over and then the other hand can go somewhere else oh yeah can you even do this maybe just bring the water flat yeah that's really pretty let that hand go down and care will bring this write down what's staying in the frame good that's nice I like that too that again when I move this right here and then just like this manuela couple of these just very like yeah turn your head towards me a little bit until chad yeah so it's like yeah good cover I'm more good and close your eyes too good chin up good all those somewhere like yeah just like that still that's pretty and maybe we'll just somewhere your hands almost like in praying sort of like just in front of you with flour from in the but if I yeah I like that good you just a little bit off to the side so I still see your mouth there were no good that's pretty like that and can you go into the wall of this a little bit closer yeah you could look over towards tv again no like turn your head towards good maybe even just some where here looked over yet that's nice, good, good, good good okay, I want to do a few more frames of this and then maybe we'll yeah, that sounds good and I think how are you on the floor is this cases is it going to be because it's like a yeah do you want to try that then and just have a seat on there I'm good careful if it's too because I thought you could kindly back again like how it's done previous but yeah so you're gonna have to sort of scoot down a little bit um and you continue kenly flat like turn your head turn your body like bring your body your head over here more so let me just more the tool yeah I don't do the same thing again I'm just going to try it this way with the tool yeah I'm going to do the same oh, sorry you gotta get up sorry hold on we just need a little more material to squeeze your bottom down tiny bit there that's cool. All right, someone let's spread your hair out of anybody you see but so here is out I thought that would be cool toe make it all wild and woolly get some butterflies no, they're just pinned all wait is there more over there? How many? So I'm just doing the same thing again but with the butterflies instead of the roses we'll just put these around you okay? You're like down here oh, okay, I see do you wantto go ahead this keep it there yeah let's, put your hair over there to just kind of hold it you comfortable? He can breathe. Okay. All right, so, yeah, we'll do that again just to a few shots of this and then we'll think will change into your next look. That's pretty smooth, honey. The fifty sorry, thanks. So one hand, I want you to keep your elbows close to your well, that that arm's fine, but the other arm like, maybe you can put it down there or somewhere across, but just so that the ovals aren't going too far out this one's ok, for now, I'm gonna shoot it over here has pretty good that's nice look up. So what is the concept that you're looking at here? Me, what is the you're going for? I don't know, I don't actually know because I'm just playing around and this is really how I do things all the time, so as I'm shooting, ideas will come up and I thought, oh, let's, put some tool or face and see all this looks so try that. But the whole thing is just the whole conceptual. So I think with conceptual you're free to really like explore and, like test things out, you know, there's kind of that window there toe play around, it doesn't have to be so specific, but yeah so and how would you then concept this differently with your team then if you're going into it with just a general idea are you starting out by saying hey let's go with this styling and then figure out what happens or is that uh something that's understood from the beginning it's understood from the beginning and sometimes like I have really good relations with certain our other artists that I work with and if they have an idea to ii let them like you know they'll say oh you know what what you want to try this and that I don't mind like directing the girls I don't want but when they have ideas like when don put the flower on you I was like hey that's a good idea I didn't think of it so it's yes sometimes other ideas they come from other other team members and I go with it because you don't know it's just it could work out really well so so we're just going to char couple of these yeah that look so I'm trying to make this a little more creepy ish I guess you would say yeah turn your head a little more this way yeah that looks really good maybe on your forehead and study it I'm just trying different angles and everything's looks pretty attorney had more towards me yeah that's pretty I like that a couple more and then I think we're good what more do you want to look straight up let your lips relax come chin up or you want me dio let me just get one more this way like this okay that's good china more towards me up in a nice on me okay we're good think we're good got a lot out of that that's pretty so what do you think you might do with this in post like what are the kind of general broad strokes that you would do um for post like for this well yeah yeah we're gonna um sorry um just one sec before you go sorry ross but can you ask for when she does this does your changes you're here just to put it back in appointing tell but leave it big here with that dress instead of out like that okay thank you um so for post like with the butterfly wall the original plan was that and then I just kind of went off and did other things right? So I'll probably be I don't know if I'll be editing these really in the photoshopped segment but I'll probably be cutting out the butterflies and in photo shop and then bringing the mountain to the frame so that looks like there are kind of in the air and not just on the wall and try it out see what happens yeah that was that these were just I was just experimenting and fooling around I like it I think it's really fun to actually see it I think somebody in the chat room who I missed said that she loved when I ask so what is your concept here? And you said I don't know like because it is something that we do a lot like being able to play around and have fun is this something that you would do on like a commercial shoot with a client or something do you you do this process the same thing I suggest things all the time and if they don't like they don't like it but I'm like hey, you know what? Why don't we try this and if you feel uncomfortable weaken, just move on but it's really good to experiment I don't think you should sit there and be stuck and rigid with what you're doing because that just stifles you're whole creative process, right? But yeah so I like to play around change things it helps keep thinking right? Yeah, just some some info for folks who may be joining us very recently this is all natural light we've got light coming in through the windows they're just frosted glass there's nothing special about him they're fairly big and and it's a decently brightened day outside but it really is just like we've got the b flat there on the other side bouncing the light in and those are was your chief you can get them at any, like usually home pli type stores, home depot lowe's that sort of place you can also make them them yourself fairly easily and the fabric on the ground, by the way, amanda, that she was lying on. Do you know what kind of fabric that is? That was special silk, a silk sheet from joyce. She said she had some silk sheets at home, she went to grab that and then I that black that was black tool, just to add that texture over top of it. Maikon photo amanda, you said you that you snaps up snap when you're at home or when you're shooting yourself, do you take a lot or very few shots? So do you do you shoot a ton? What? I mean by that I meant that I'm a fast shooter. I don't take hundreds of photos. I mean, I'm take like I just I shoot fast. That's yeah. So you know what really like, usually from a creative shoot, I'll probably max out it maybe three hundred frames. I don't not want to be calling threw those I don't like going through all those pictures, so yeah, it's great to have any questions from anyone here in the room, you understand? Okay, uh, so I was wondering because you're not shooting more than three hundred frames like in the end, how many photos do you typically provide for the editorial for them toe? Did they kind of call them down after or they were like here's the final images or has that work? So what? The editorial like I narrowed them down, I narrow like all sail on the way I do it is I'll choose say the best top ten photos of each outfit change, and then I let them sit and I try to just get away from those pictures for a while it's just good to get away from that, and then I'll come back in a few days and look at them again, and then I'll narrow them down again and I'll just keep like I usually flagged them in light room and then I'll unflagging them and then until I'm like right down to the one each one of each image and with an editorial, it really depends that can go anywhere from four photos toe like twelve or even more, it just depends on what it is like if it's a big designer and you're looking through vogue and there's like fifteen photos of, you know, a brand, it just really depends, but I say between five and seven usually that's the standard with when you're trying to get published and stuff, yeah changes are just at least five to seven you know when you will go through like we'll talk about submitting to magazines anyways more into that, we've got a mere who was wondering how the the backdrop is being held up and it's actually just a wooden embrace that we've got on the wall is attached to it with velcro, so it is again very simple just thrown together not not a big problem now this model is obviously amazing she's really, really good at what he does. So can you give us maybe some pointers on how to get similar effects from people who aren't necessarily so used to moving, imposing, maybe even do you have any ideas on how to work with non professional models? Yeah, with that I usually treat like say, I'm doing a bad war, I will go through all those kind of same steps with clients as well, you know, depending on body type, obviously they can't do everything the model khun do right because of certain angles, but I will I will guide them through poses just let guys you with the models and I find it just helps them being a little more confident when they're brand new versus the girls who are experienced, it helps also like with posing guide it also helps when you have little things like that when you have reference photos to figure out to show the model visually like I need you, just kind of do this. Can you do you see her face? Do you see the way your hands are? It helps instead of explaining, sometimes I explain myself, and they don't even know what I'm talking about, but, yeah, so you can use photos or just make sure you're being descriptive, really great, and it looks like our model is coming back in here very soon and just let everybody know who is asking about the fabric, the sheer fabric that was over the model that's called tool spelled t u l l e, and you could find that at any fabric storage it's, very commonly available s, so you should be able to find that wherever you are locally.

Class Description

When you think of conceptual, high-fashion photo shoots, you imagine budgets in the tens of thousands of dollars. Turns out, couture shoot concepts don’t have to cost more than $100. Join Amanda Diaz for a hands-on class that will show you how to concept, style, and photograph the images of your dreams.

This course will teach you everything you need to know to create high-fashion looks (including models, props, and locations) on a seriously shoestring budget. You’ll develop the strategies you need to carry out a complete low-cost, high-impact shoot from start to finish. You’ll also learn about creating a consistent, cohesive portfolio and develop ways to express your unique point of view in every image you capture. You’ll examine how a fear of criticism can unduly discourage you in the same way financial constraints do, and how to prevent those fears from holding you back.

From vision boarding to connecting with modeling agencies to shooting for publications and more, you’ll explore the tips and techniques every professional photographer needs to know.

Class Materials

bonus material with purchase

Lightroom Preset Samples

Photoshop Actions

Texture Samples

Creative Shoot Checklist

Mini Posing Guide

Amandas Favorite Photoshop Action - Enchanted

Gear Guide

Ratings and Reviews

Student Work

Related Classes


Dan ilicak

Amanda diaz has given me inspiration and purpose. I wake up everyday inspired to create a beautiful image, atleast enough to hold your "aww" for a few seconds. I can relate to Amanda on so many levels as I also found myself in photography and never planned for it. Just like Amanda, I also started from scratch with nobody to help or assist me. If I had found this tutorial a few years ago, it would have speeded up the process of learning. Even today I call myself a professional photographer, this course still had a lot to offer me. I can blab on and on about how much I love and support Amanda diaz, however I will make it short and sweet by saying three simple words, "Thank you, thank you, thank you!"

a Creativelive Student

This was the best creative and most prolific 3 days of a tutorial. Amanda covered the entire spectrum of what every photographer who's trying to become better and bigger go through. I loved the part where she spoke about how to shoot in any lighting situation outdoors and a few indoors. She not only spoke about them, she went into full detail to help the novice or advanced level photog. Despite the tethering issues CL had with Lightroom, Amanda poetically commanded every day of her 3 days. Another point is that she did everything "her way", and not the traditional textbook style of teaching and editing. One prolific point is that NONE of the previous CL instructors touched the issue of drama, unwanted criticisms, or unprofessional things that happen in the industry, however with a brilliant stroke of quiet humility, and courage, Amanda did. I believe it helped everyone realize that no matter what level of photography you're on that it happens and you have to oftentimes "bite your tongue", or "turn the other cheek". It also pointed out that as photographers we should be doing everything to help one another to build our industry, vice tear it down by hurting one another because of the mindset of "competition". Amanda Diaz, and CL I salute and thank you dearly! Semper Fi! Mike