DIY Fashion and Editorial Photography

Lesson 17/31 - Shoot - DIY Shoot Continued

 

DIY Fashion and Editorial Photography

 

Lesson Info

Shoot - DIY Shoot Continued

I'm going to get you to school just into the center of a tiny bit more and so here is where I was talking about yesterday when the girl had the pink dress on and the legs were under the dress but the dress was big enough to make like to create the effect of that the legs are stretched out, but when it's things like this I don't it's just a preference I don't like it I feel like the legs or cut off it's okay don't worry the legs are cut off and it just I don't know it just looks like torso and no legs to meet like when I see the shot so whenever the girls are wearing things like this yep she knows already so I'm getting her to stretch her leg out and and it's a lot more graceful to it adds like femininity to the photos so I'm going to get it um uh bend this leg a little bit more just kind of toilet back there yeah perego and so now we see her legs were pulled out. The skirt is flowing down before it was tucked in and it just looked like there was nothing there, so I'm just going to play...

around and move a little bit of the cloth, huh? Just try to make it cool for her feet a little bit and you painted your toes good job what I know I knew it was going to be a little bit of an issue because it's so heavy but can I have one more own bobby pin a couple more I'm just fixing the necklace a little bit here. Well, it is you know what's what happens right? Like and like I said, we don't always have stylists and stuff to help us do these things so doing this more often it gives you experience on howto deal with these little issues well, your hair's getting nodded in there yikes that hurt sorry pulling on it and I were just talking about like, when we're in um uh you know, the story looking around like I hadn't thought of using jewelry and a and a head piece I don't know how many other people or like that but, you know, I was just thinking of using it like the typical use like it's a necklace uses a necklace, so yeah, but you know, this I really like that you could sort of mix it up that way. Yeah. That's what I mean about sorry. Oh, my god, this is right in there about using things over and over again like this using this over using this cloth over and over, you know, there's ways you can do these things and it will look totally different, right he's in the same item so I took this on I unlatched that necklace there I just want to see what it's gonna look like you know my yells guess I'd probably look okay you hanging down let's just see if it looks silly we'll change it but I kind of like this it's pretty how's it look or they're weird I don't know I like it from this angle right here it looks nice what was pulling some of that over buyer I awesome good. Yeah um this here this hook I would just photoshopped himself if I did like the photo and used it yeah it's really easy to get rid of that it's easier than trying to rip it off the necklace yeah, so I'm just playing around here so yeah, when you guys are repositioning models and this is such a specific thing going on it's good to move things around on her to like, make sure and change stuff around see how it looks and with these flowers maybe we can I don't know just like let it sit there yeah, I mean that's beginning from this angle. Yeah, yeah, that looks and we'll get her to keep looking this way so we get the details of all of us the neck was falling down even over here is pretty but the v flats behind her so we can get her to move around um I just wanted to kind of lift your foot up for a sec yeah just kind of let it your foot is like peeking through this okay that's pretty and let your lips relaxing and just kind of is there um keep your chin up just a little bit so like your eyes a little more yeah seem well I feel like her arm is um kind ofyou not that arm that one's good this one's because it disappears yeah yes we've got a watchman arms disappear which often happens that's pretty might be a little input on the composition on this one I think just because of the you know, being a fixed lens and then um that's pretty I was thinking more you want to try like dead on like this so you're getting her turn your head completely towards the window actually yeah. And eyes a little bit down like just below the window shade from and you know what angle lisa can you actually like just lean back on your arm this way there is the other way just looked so uncomfortable that's better that's more natural looking yeah should not tiny but yeah that's nice and krystle when you shouldn't try to get like from head to toe till you know try to get o the whole in there and see how that looks getting like more maybe elements I'm gonna fix our script it's looking a little bit focusses khong hieu I know uh here, let me try some way needed to be higher opus and I don't think away from here like a dreamy yeah look so oh, yeah, because it went on the flowers and what can you put the eighty five on course we can do anything you want to get rid of this evil lens, can't you see? I think when you focus on what you got, if any slight like when you recompose with this thing, it gets a little wonky, so we'll put the eighty five and we'll just move back a little bit if that's that work e want to fix her skirt here. I don't like this it's all bulking up here, so I'm just adjusting the skirt because I don't I don't like this. What is that? There is something another the dress can I go in there and pull the just okay second turn six sanders thank you that's good. So I had to ask to make sure she's okay with me going up to dress their go so so it was all bulky. It looked so weird. Okay? Oh, yes, he looks better. I like it this length it's better. I'm noticing that there's a little bit of contrast between the earth tones of everything on the ground and then the kind of right. Pinks and greens and oranges that you're seeing on the wall. Yeah. Is that something that you like and are intentionally doing or is that something you would change and hope I'm going to change this and post were just re using what was built for the original shoot and so when I edit out will I would de saturate I would take those greens out and I would be saturate the pinks and the orange. Um for sure, because what she's got on here is all creams and burgundies and earth tones, right? Yeah, well, that's a great way to get more use out of the props and sets that you already have. So that's awesome. That looks pretty. Do you want to tilt your head back a tiny bit? Try that like I was up. See the necklace in the picture? Why is it because it is just me? Is it okay that I was like, well, that's okay, so your lungs was good. Ok, it's ok. Is it still a two point eight? Uh, yeah, queenie, you can go lower if you want and you can put the shutter up a little higher just to get it a little more study like goto, like one point for and see how that looks and then bring the shutter a little like boat three stops up so we're just bringing the shutter up and the aperture back down to see how this how this will change or if it will help and missing the feet you want that box so um that's all right yes I think I really have to be low good oh, shit I think that's pretty wait um get her let's get her to sit up, sit up a little bit. Yeah and can you actually yeah not to that yeah, there that works yeah let's try some of that and um with this part it looks a little weird so can you pull the bottom like moria? Well, try some of these and you're just really relaxed in your body is just sitting there your date you mean watching the clouds go by that's pretty you mean we come up close again? Just come over here, hon dry is it? What is it just you center focus, right? Uh yeah, usually so focused on her like focus like get on, get on her I focus her eye and then keep the shutter halfway down and just slightly move the camera to compose and see. Okay, well, maybe it's me maybe it's my settings for probably my it's probably something because you're not using your own camera, right? Yeah, look sharper something it looks fine when I'm taking it to it's just one any weird here we'll put the aperture backup here maybe as its name one um stillness yeah, maybe I'm too like move too much so like I think I haven't then it moves about time to take it just checking about yeah it's okay don't worry. Okay it's nothing it's not even your camera we expect so just yeah lock on to her and and just moved on ly a tiny bit because it might be just because of the way the aperture is so low I put it two two point oh, now on the shutter will set about five hundred soul we're going to try see how that was stolen I get it when you recompose just slightly my camera sometimes it on unlocks itself to a new camera but see how the sky works manual focus if you want to yeah yeah you got to put it on yeah it's on there okay I can't manual focus I don't really do it right better for you oh yeah it's better we're oh you know what it might be our eyesight I just realise you know when you change the thing in here because you want to hear that so you know I just realized that you know where is it? Where is that tile? How did they use this one writes and this little way alright, okay here because it might be that right do you wear contacts or anything or know? Okay focus get the focus in there okay? I just realized it might be yeah, because you have your own camera it's like taylor to you right? And I just was thinking that's weird I know she knows how to focus so that something's not right here did you change it on the dial it let's see what happens they're got a trouble shooting this good good young needed to fix it back after because I'll be all like what's wrong with me okay, nothing you want to do some I don't know if she could stand on my own you know what do you want to try the cheryl fast try a portrait shot of her sitting and we'll cover it with a cloth just to something real fast and then I guess we're done good for break, so don't sit down yet I'm going to cover this just with the, uh the story of the tour all fast. Whoa, we're gonna drape it over the chair and I'm going to do that this afternoon to but I just thought I would see how it looks with something over the top and and then just a portrait so we don't see the ground and then we just get the flowers yeah let's see how that looks so just go ahead and have a seat we'll try a couple portrait shots. Yeah that's fine and then yeah that's pretty you could even shoot down there but can you hear for your foot? Mort of yeah, like sort of like your feet are that way kind of pulled over. Yep. And then you're gonna keep your head this way because I have that dangling and it's not even if you straight on yeah, try a couple. Of course just like that. See how that ends up looking? Bring your hand the way it was kind of like, just relaxed over try a couple shots that that's a pretty one you took there? Yeah, sorry. You gotta move way back now, right? Yeah, sorry wish I realize that way earlier, no signals picture yeah, I know I didn't even think about it cause I'm so confusing, you know, that's really pretty I like it. I want to turn your body completely to the window. I think we got, like, a few seconds left, so we'll just come go right sideways and for the one more frame can you tilt your head back and look a crystal right in the camera? Yeah that's pretty that's nice. Yeah that's really painterly I like it, yeah, where it's like they just the person sitting that's nice could could give get

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.

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