1950s Alley Shoot: Vintage Car Exterior Part 1


Fashion Flair for Photographers


Lesson Info

1950s Alley Shoot: Vintage Car Exterior Part 1

When we pulled the car into this alley way, we put it facing this direction for a specific reason we put it, so if we wanted the front of the car in the photograph, it would be backlit because I'd rather have backlit than front let because I can have some kind of definition to the hair of the subject, so I'm going to shoot two frames, one from the front, one from the back, just that people can see the difference, and then I'm just going to pose you and interact with you guys. Um, I think I'll do a fifty just to show the difference. Have the car in the shot. Oh, god. Oh, god. All right, so what have you come over here? Stand in front of the car. Good. You are going to look, you're going to stand facing straight completely straight. That way. What you're going to dio is you're going to face him, you know, put one hand here. Good. Gotta coming closer. Sorry. Keep going good. And you're gonna try to turn your hips that way a little bit more and you're kind of looking back over the camera l...

ike he's protecting me. What are you looking at? That's kind of the field s o notice how I try to direct so she and said if she could be, like, one way you could say is ok, it's cute. Put your foot up and kick and you could do something like that versus if she wants to do the no he's protecting me. She kind of nuzzling and look over her shoulder more versus like that. So that's, why direct will say what you're thinking. So it gets them in the right mind frame. So I'll do this one shot this way. You'll see kind of front lit. How? It's. A little bit of a pain if I if I pull it, it is a little bit closer. Good. Okay, so you see crappy light, okay, let's, switch over to the front of the car. So I'm gonna need everybody to go to the front of the car. Um, and we're gonna shoot from that way, and I'm gonna put them in the car and whatnot. Ok? That's stuck. Cute. Reflect on the car. Nice. Nice reflections. Cute car. Ok. Thank you. All right. So if I said, um con if I switches to j peg and shoot black and white, it works. Okay, um, I might just started today. Pick second, demo something and see wei go shoot jay pig. Good okay so I'm gonna shoot large j peg and shoot in black and white because I think even those cars awesome I probably should have black and white okay so without sitting on the car must have you take one step closer and you could do that same nuzzle so kind of nuzzle right into him good head into his cheek perfect just like bats back up I'm going to shoot that alleyways kind of ugly behind so I'm going to shoot at two point oh to get rid of it you're going to look straight ahead um I'm actually robbie look straight ahead and should have had in more towards her some kind of yep good and you looked right at me that's great and robbie squint your eyes a little I was thinking at something about something good to take a look perfect okay let me do one more of those good good um so from me when it's backlit if you look at this shot and you take a look because it's backlit you have those nice highlights on the car you have the nice highlights on his hair on her hair and then you don't have really harsh light in the eyes I have one reflector real quick I'm gonna bounce a little light in and then I want to let you guys shoot a couple of shots just like this but I want to hear I'm gonna pick three of you to direct them so I just want to hear what you'd say um and any ideas that you have so I'm just going to bounce a little bit of light in okay? They're gonna be in my shot a little bit okay uh silver and coming in a little closer okay and I just have him shut just okay those air head into her more close your eyes no can't say I enjoyed it and just roll extra is good and now open them on the count of three ready one, two, three good good one more and now look down at her kind of look down that way good perfect and now you look kind of down across this way great. Just a little closer her if it really like that shot ok, good. So that's something I would shoot step for darkness in the eyes and you come from this side has come right right. Okay, hold on switches to wait for me now that the sun's out it's gonna feel it's a little bit okay and eyes down one more time good and so and when we come back we'll do a little bit more directing and shooting with them but that's something that we should hold on to his jacket right here kind of like you're pulling out it just a little bit so it's giving kind of more like there's a story to it good perfect good okay, so I'm gonna have you guys shoot I want to show you real quick what? I gots an idea you guys wanna just take a look you can do something like that so have them kind of like it in the background but for me see why I have it back lit because the light is on the hair there and so there's no contrast on the face not like no go high contrast and then I have the nice highlights in the background I might do something really dramatic where I take an even wider lands and so I could get up and I would have them there and in the car large in the background so probably after break what I'll do is I'll try showing you how I would take five different lenses and shoot with five different lenses shoot this scene to tell a story so you guys want to give it a try so I actually have you shooting the camera if you have a cannon so people can see aunt I have a fifty on so keep that in mind I'm gonna move so we'll just kind of run through a couple shots real quick and switch that we'll do real storytelling okay put whatever you want and you tell me what you're thinking what you'd like changed um turn card's him a little bit and put your put your arm around around him around his so right around his weight yeah around his waist and then um head like coming in together like that and looking at the camera or not um no look down so I would say that in the back right distracts me so I would probably move in a little closer and doesn't fall in the great ennio please impose okay, so for me you know that's going to work better I think when I look at her arm I think that's too much of a right angle oh yeah so I would I would do something like can you put your hand up on the side of his face so it's just right there yes, exactly. So she did really nice with the hand there and so for me what that doesn't have you shoot that for me what that does is it creates a nice composition a nice circle around their faces so that's gonna be a much better shot than before when the hand was down here it's like a strong guy like that but I think she should look down sure. Anything? Yeah, definitely you just look down just like that. I think I have that reflect your real quick I'm gonna give you a little bit of affection you can give you one more with a little bit of flushing try moving in just a little bit closer good so this is with reflection nice I see a little bit of sparkle in her eyes nice beautiful I love that that's great okay, who wants to try and let me know when we're at a time just gonna let them shoot and give him a little direction promoting you want try it so let's do something let's try totally different pose um that was a great shot. I really like that totally different pose. You need to have more swagger than what you have here was daddy like I see more with a hand in your pocket like the pants it's very fashionable um see about it on button stylish their way see you look at look at him change that's right? I got that daph furnace there all right? I want you to nuzzle into him but I want you to steal your things but I don't remember okay? You can't sit on the car. Yes. Now I want you to bring your hand around okay, now I want you to kind of pop your hip there you go forward a little bit with your chest but I like all right and let me take a look when you shoot it no, I don't like your hand by the pearls couldn't connect it with hiss let me look you turn your back more into him it's funny how they don't like want to close it's cute there so what I'm thinking is that either you can switch them if you won't try that try switching okay, put him on the other side. Okay, good nice. Okay. And so what she can do is a couple of things I personally think when I see this if we're going nineteen fifties I might think of something where maybe she's like leaning back looking at him so like kind of involving personality or you could go the other fashion way where she's facing kind of this way wait like their back to me we're back to you so I would pick some attitude or qc I want attitude because I'm not getting cute see from them completely so more back way into him yeah, but you're the fact that you get no leading to him into him she's like don't have to actually reflects from over here for you to fill in a little bit late in the eyes and then you see his face so if you guys if you guys don't see that there's sunlight hitting his face so I might have you bring her chin kind of down just a little bit and then into her and kind of watch I can't see how it is on that side. Yeah, just a little bit kind of right there good, so I'm just watching for the weird highlights that I don't like and see it's not e can't block it off a little bit terry had straight towards the camera towards me actually good and scoot in a little bit more okay let's see so that's the only way to get to kind of get off of the face unless you want me to block off her head and that I mean if you have an easy playing too easy block it okay so do give me a major attitude you're like I want you I want you like on him just really popping it back just probably will be in the way back try yeah are you popping this hip back okay she's like yes I'm popping in okay and where's that adam over there that's perfect that's why life will look more and look general notice if you look when the shop pops up the difference will see that you is now that he blocked off over their heads there won't be any hair light take back trade us again they don't shouldn't want the highlight on the head although it's probably pretty good now uh sons mostly gone now so it's that's fine okay, I'll take a look at that you try I like that for the shape well I do like that um try one really low try one where you get like this so I'm just interested try like a really long live for that and you're going to wrap it after this take some of these fashion flirt too is that it I got it good school okay to try really low angle um from backup if you need to switch lands let me know yes you need like a twenty four to seventy or anything good uh when I look at that if you look I see the hair on her neck I didn't put it in front or behind that kind of hide your neck and it's more feminine so yeah flip it back and then give me a little bit longer neck and lower your shoulder just a little bit or push it forward a little something that's kind of not the in between I want you to tug on his jacket a little bit more yeah, I kind of like her grabbing at him kind of same thing like you do but more like your yes like that you really really, really good posture except really straight and then lean it good ok and then robbie lean for just a little bit towards her there you go to see how this highlight went off of his nose just from that like half inch lean way blurry uh do anything with a focus point for you never good. Ok, ok right here guys take a look say so I think when I look at her feet it's like they're not together than apart so I would do something a little more dramatic it's kind of an awkward in between so do that same thing and if you lean in, but I'm actually gonna have you take a foot out for a second, just kick it out a little bit and give me, like, just give me, like, a little bit of shoulder, something like that. Good. So I tried that just a little bit different. The reason it makes much more difference in this shot to even with the shoe in because she's at a low angle the shoes close to the camera. So you're actually paying attention to the shoe. Okay, now do a flirty, like kind of happy look over her. You both look happy on the kind of three you're gonna look at her laugh. You're gonna have to think and break your thinking of jokes to tell. Okay, here we go until you do the fake laugh on the count. Charity fake laughing. L want teo. Yeah, that was intense. They take a look. Okay, so you went to one last one? I mean, two. One more. Last directing. Okay, her hand on his on his jacket again. Good. Kick your foot back to the same thing, and I'm gonna let you literally have you kind of kicking. Look, okay, get other foot, though, okay? Let me take a look when you shoot a couple of things and I want you just look more natural. So if you need to, like, actually put your chest into it, so just kind of lean and kick, because otherwise it looks like you're trying not to move your tour so let's, try this just a little bit. Okay, so put your foot down. I'll take on the kind of three already one, two, three and I look over your shoulder back at them and you rob, you're gonna look straight out, ok? And so you look back over at cana on the kind of three and major major kick soft hand on a shirt good and kick really high on the count of three, one, two, three and I laugh good it again. Good. And don't look as far over, maybe. Look here, robbie, you aboard your good one, two, three. Okay. And what I want you to do is this last one, and I want that actually looks cute. That's really cute into good because you're cute.

Class Description

Break free of traditional portrait and wedding photography! In this fashion photography workshop, Lindsay Adler teaches you how to apply the concepts of fashion photography to your own work to create truly striking and unique imagery. Whether using props, unusual locations, lighting, styling, or retouching, this class shows you how to give that unique edge to help you stand out from your competition!