Lesson Info
7. Purpose For Action Editorial
Lessons
Class Introduction
06:15 2Introduction to The Environmental Portrait
06:51 3Environmental Portrait Purpose
13:06 4Personal Work
18:36 5Find Your Process
20:20 6Tethering
18:35 7Purpose For Action Editorial
05:19 8Prepare for Shoot
06:10Action Editorial Process
11:27 10Set Up Action Editorial Shoot
12:43 11Shoot: Action Editorial With Athlete
29:32 12Studio Portrait Shoot Overview
05:58 13Shoot: Athletic Studio Portrait
15:39 14Shoot: Manipulate Light to Mimic The Sun
12:11 15Shoot: Change Background Color With Light
18:09 16Shoot: Create Soft Light with Umbrella
07:31 17Shoot: Create Intentional Shadows
04:28 18Shoot: Action Shots In Studio
04:00 19Review Images in Capture One
14:54 20Raw Processing
05:24 21File Handling
05:19 22Retouching & Color Overview
05:45 23Retouch Images in Capture One
11:37 24Retouch Images in Photoshop
07:00 25Retouch Images With Presets
27:40 26Advertising Vs. Editorial
04:49 27Indoor Location Shoot
13:12 28Indoor Location Shoot Process
11:19 29Get to Know Your Subject
13:12 30Test & Frame Your Shot
10:44 31Create Natural Light
24:33 32Natural Light & Alternate Light
11:05 33How to Shoot Indoor Location Portrait
11:53 34Indoor Shoot Results
19:00 35Outdoor Location Shoot Goals
16:51 36Indoor/Outdoor Light Setup
17:27 37Studio Light On Location
09:56 38Create Location Portrait
11:41 39Outdoor Shoot Results
13:26 40Post Processing Overview
08:42 41Choose Selects & Sort Images From Indoor Shoot
14:11 42Edit Raw Images from Indoor Shoot
10:47 43Finish Images in Photoshop & Alien Skin
17:06 44Portfolio Management
28:13 45Importance of Website
17:55 46Marketing 101
18:51 47What About Reps?
05:54 48Bring it All Together
10:52Lesson Info
Purpose For Action Editorial
What I wanna move into now, we've learned what environmental portraits are, why they're important, how to create them, creating personal work and then a basic introduction to tethering. So now what we're gonna do is, we're gonna talk about doing an actual photo shoot and we are going to do an actual photo shoot live here in a few minutes. So just to kind of cover that, studio action editorial shoot. So we're obviously in the studio here. We have two different studio fields. We have the warehouse field of the garage here at CreativeLive and then in a second segment, we're actually going to have seamless setup, so we're gonna be in a traditional style photo studio. So we're gonna do same subject. We have Brock, who's a basketball player, and we're gonna be doing two different totally, two totally different setups with him, within the same space. So it'll be pretty cool. We'll get a lot of variety from the shoot. Should get some pretty cool images, and I'll kind of go over the goals and i...
mportance of that right now. So just to continue, we just did all the stuff I just talked about with explaining the environmental portraits, so now we're on to chapter two, which is the Action Editorial Shoot. And then just to get a look we have Portrait Editorial Shoot coming up and then Post-Processing. After that we have Indoor Location Shoot, Outdoor Location Shoot, Post-Shoot Workflow, and then Portfolio and Marketing. So those are all to come. But for now we're gonna focus on the studio shoot. So we're gonna go over the purpose of a studio shoot. Why is it important? What do we do with it? How to prepare for the studio shoot? And what the process is to kind of make it all come together and how I work through everything from the planning to the shooting to the post-processing and everything in between. So let's start off with purpose. So purpose of the studio shoot is this, many commercial or editorial shoots require a studio shoot. To fully tell the story and provide options to the client, I capture both action shots as well as portraits. So I like to get everything in there and provide options both for myself and for any type of client, even if it's a personal shoot. Like I said before, I like to go back to the studio, load up all the images, whether I shot tethered or on a card. The worst feeling is when you don't push yourself fully and you get back and you had an idea in your head, or you were on set and you knew that certain parameter, you know, certain things could happen, but you're like, oh that's good enough or I feel like more comfortable or maybe I've taken enough of this person's time, we'll just be done. But when you're looking those images and you're working through them and you know that you kind of stopped yourself a little bit short, or maybe you didn't cover everything, or if you were a little less organized and you just didn't get the shot you wanted. We'll talk about how to make sure you go through all the checklists and get exactly what you want, because whether it's for client or whether it's for yourself, I hate that feeling when you know you could have gotten more out of a shoot and you stopped yourself short. So this is example of a studio shoot. It's my old studio assistant, Nicole. This was a test shoot, just for personal work. I had a couple of new grids that we were trying out, how they affected the light and things like that, so it was just creating different portraits of her in the studio. She came to work, probably didn't know that she was gonna be modeling, but that's what happens when you work at a photo studio. So she sat in and we tried all these different grids for a spread of light and this was just a shot that ended up making my portfolio as far as personal work goes, of something, you know, that I was happy with, with a studio setting. This is another shot. This is actually from a workshop that I was teaching in New York City with photographer, Victoria Will. This was a shot we created in the workshop, teaching studio lighting. So again, it was working through the process of, you know, different lighting, different experimenting. We were just dealing with on-camera flash style looks. So kind of that paparazzi light of getting the model to move, but having the freedom to move because you're hand-holding the light directly over the camera. I actually did some of that in the pre-shoot, so we'll be showing some of that with the guy at the motorcycle garage, and how to get that look and how to finesse it through tethering, and capture one, and you know, light placement and all that good stuff. This is another shot from in my studio. Again, we'll be doing something like this with Brock. So this is just white seamless in the studio, one light, pretty basic setup, but again, you know, directing the model or subject to get a certain look that you want, based on the feel you're going for within the shoot. And this is actually, you just met my assistant, Nicole, two shots ago, this is her husband. Again, I had another lighting test day, where I needed to do something for, it was a potential editorial shoot with like a CEO, but they wanted some edgy lighting, so this was John. I said, "Why don't you come in and wear a suit and tie.", and who knows, he might have been wearing shorts, and it's just some portraits were we can experiment with this really harsh and specular two-light setup. So that way when I go onto the shoot, I'm not experimenting with the actual client, or the subject of the editorial. Because again, I don't wanna be messing with all that gear when I'm with a paying client. I'd rather have all these details ironed out beforehand. So I was like, come in for an hour, and I'll buy you a beer when were done and he's like, sound good. So all he had to do was sit there and look off to the side while I messed with the lights, took pictures of my setup, took good notes of, you know, light settings, camera settings, all that type of stuff, so that way when I go to the shoot, I already have this ironed out and can do it on command.
Ratings and Reviews
Julie V
I had the chance to sit in the audience for this class and absolutely loved it. Watching Dan create amazing images from start to finish in front of us was so inspiring. I've learned so much from this class. It actually gave me the confidence to start playing with lights in my studio. It was really useful to see how he sets his lights and how he can easily mix ambient light with artificial. I also love how he focuses on getting the image right in the camera to only do light edits after. I recommend this class to anyone wanting to learn more about lighting, shooting tethered and editing efficiently!
a Creativelive Student
I love this guy! I so appreciate his honesty while he is explaining his thought process, admitting that his “shoulda/coulda/woulda’s” - which I experience ALL the time. I am now going to dust off my light meter and start using it on location as I’m convinced that it works now that I’ve seen Dan’s class. I enjoyed the detailed way he sets up each light individually, checking to make sure it adds the amount and quality of light he wants. Definitely recommend this class - especially for those people who have experience using studio lights and want to see how they can be used to get specific results. Dan’s clear, simple explanations, his unabashed humility, and his sense of humor made this a truly enjoyable way to spend my time learning his methods.
a Creativelive Student
Dan is an excellent instructor! He's completely transparent with his thought processes, from technical to creative. He doesn't waste time horsing around or getting off topic, but is structured and sticks to his outline. Every minute watched is on topic, and is understandable. He's sincere and likable. The course is great for anyone interested in this genre!
Student Work
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