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Fashion Flair for Photographers

Lesson 23 of 36

1950s Alley Shoot: Vintage Car Exterior Part 2

Lindsay Adler

Fashion Flair for Photographers

Lindsay Adler

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Lesson Info

23. 1950s Alley Shoot: Vintage Car Exterior Part 2


  Class Trailer
Now Playing
2 Essentials of Fashion Flair Duration:22:00
3 Integrating Fashion Elements Duration:44:15
4 Beauty Light Duration:57:17
5 1940s Glamour Lighting Duration:32:55
6 Low Contrast Lensflare Duration:29:05
7 General Q&A Duration:20:16
8 Fashion Boudoir Duration:22:55

Lesson Info

1950s Alley Shoot: Vintage Car Exterior Part 2

Okay, I'm going to bring you away of here and on all the cake cords don't trip um scene in front of the great okay good all right and so this shot is going to be all about her and she's in the back room can put your elbow on that yeah, it kind of looks like you're posing their good okay, so for this shot so far I really really like it. Um but I think that her pose looks a little bit spit static so I'm gonna have you turn that way with your body and then looked kind of maybe like you're going to look over your shoulder just really look towards the wall but it looks like maybe looking back a hand just fix the hair just a bit. Okay so again storytelling she's looking back at him you're the focus he's out of focus I'm shooting at two point two and he's really out of focus if I want to see a little more of him I might close down to maybe four point oh, so try one of those. Ok, lindsay, just a quick time check. We have about twenty minutes left with awesome. Not with perfect. Okay, good. All...

right, so what? I'll probably do they'll shoot for five more minutes, invite them to shoot whatever they want, okay, chin down a little good. Okay, now I'm going to switch it okay so I want a shot of you in the front all storytelling so you get the idea she's in the front looking back at him vice versa I like this better it kind of two point eight perfect. I see you're nice and comfortable see she's okay, now see that's what it's all about that's what you're like try to start with the easy thing see, you look super comfortable he looks really suave like yes I like that too that's a good idea you look super suave uncomfortable okay that's good. Um so remote it pointed out to like there's acute reflection of her shoes in the side of the car so I might throw on a long lens and get a shot of the shoes that's a really good idea, you know come do that to him. Okay, you'll see that. Okay, okay, don't they move this out of your way so you don't trip, okay, come to do that to him and step a little bit that way I'm going to try to get a little more of the car. Yeah, so we want to show you um this is what I feel like in my house if all these cords ok good, so just do that to him perfect see how much more comfortable now look at him enduringly she's like I got that down now now both look at me and put your heads together little good now both of you kind of look down so it's kind of serious and now both of the ope still tangled okay, both of you look at me same thing put your heads together though, okay? I'm going to a fooling shot where you see your shoes so I am going to move these wires and I'm going to do you have you do that little foot kick okay? See it's we're totally good now all right, professor it's here all right? Was she really well, here we go. Okay, so I'm sitting behind a garbage can sorry camera guys um so it might just do one where it's just their feet because that's part of the story to me too so ready go ahead and kick your foot up good and could even hiring someone more good face her so it looks like you're kissing or maybe good and if the great wasn't there it would be better but I'm not gonna move the car for this, so just so you know I'm conscious of it. Can I have one taken twelve to twenty four she were really wind dramatic uh uh thank you, thank you, thank you the shoes because into that they have their shoes here it is big manley manley moods and her cute little shoes yes, while you're shooting on black and white instead of changing it and got a shot because I'm shooting tether and I want people to shoot you see what I do okay um otherwise I would absolutely positively be shooting uh are you mike it's good people hear that question I'm not sure the question was why my shooting in black and white um and I wouldn't ever really shoot in black and white always changes in color from caller to black white later ok, so we do the same thing here, okay? So kick your foot up again and look like you like him again and I look at him and laugh in slam you take a look all right? So I'm gonna have you guys stand on either end of the car so you're on the driver's side switch try a couple, okay, so this shot I would shoot if there weren't a whole bunch of camera guys we shoot anyway. So you have an idea? Um it would be really wide so it's at twelve. So the cars huge, they're looking at each other over the car and then there wouldn't be, you know, crew in the background be able to get the idea look good, see if I can kind of eliminate a little bit of them can shoot here okay, now so I'm going to one more shot and then everybody can shoot so the last shot that I need is I want you kinda right here but you can't lean on the guard I want you right here and you're going to do kind of a little bit of dipping her back just a little bit. Okay, so I'm gonna take the fifty for my last shot hopes I make him switch again. Ok, come up this way, countess, come in. Okay, so you're gonna come over to him, ok? And I'm gonna find my competition here. Good. All right, so I'm just going to kind of the front of the car. You're gonna lean into him good. Just like that. Um ok, shyness. Uh, I'm a little limited in space, okay, look at each other foreheads together. You can good just like that enclosure, eyes trying to get the front of the car in there too. Looks really nice because that background is over exposed so it's actually kind of silhouette ing them a bit and I had together look at me good, relax your shoulder and put your hand up on her waist. Uh, your right hand good and we're gonna do is you're gonna dip it back just a little bit and look at her okay ready? Just realize it's okay, I'm gonna back up sorry let me get this car uh this is good I'll just for this last day already and look at each other good um maybe can I actually have that for one last shot because it's not quite getting it so this would be the last shot that I like to get so I'm gonna try get the whole car and versus everything else have had bits of it you guys have a good idea proposes that you're ready to shoot okay all right so here we go I'll tell you when kind of three you dip and look at each other in the kind of three one two three and look like you like each other that's pretty good and I'll lean in torture a little bit not like a kiss but you just look like you don't like it that much good you know smiles and get back one more further and kind of leaned towards her good okay good excellent perfect was all look great. So what I'll do is I'm going to be re touching these tonight well bye retouching I'll clean up a few things that would definitely bother me I'll put it together and show you this story that I would present to them so what I did is a head shots of him alone driving her sitting in their their heads together a graphic shot um, of them in the car a graphic shot from outside of the car, a shot of them dipping and kissing a shot of her in the foreground them in the background. I'm just putting together show of all these pieces and it's all themed around these outfits in the cars we got the car for free because we borrowed it from kind of a car collectors club on and then for her outfit we got her clothing from a vintage shop that we rented it from, so we rented the clothing, the shoes I borrowed the hoops from gen on so you can get hoops and I borrowed the pearls from somebody and then his clothing was from a vintage shop is well, so it wasn't really a huge production. The biggest thing is basically kind of finding the car making sure, and we just put it in the back alley here so we didn't have to have a huge production it probably to plan the shot you could easily do it if you knew what your vintage store was, you could do it in a two day turnaround. No top, no problem, especially if you have a vintage shop do you have a relationship with and that's why I have the cards of all the people of the vintage cars because I could easily do a cute vintage shoot for couple everybody loves that you can put it together in just a couple of days so you guys want to come take a couple shots all right here we go I have a twenty four to seventies they're remodeled shot and that's her ring so she's just like whatever I take this well whatever you want and let me know if you need a different lens okay um what do I have to have you touch if you guys don't mind uh just go ahead I want you to grab her hand like this and I want you both to look down at the rink that's quite cute storytelling I like it I love that okay you looking telling sure you think I feel like it's a little too so what I would do I don't ok so I personally don't mind the blood at all it's personal taste but I've like that so much white space recompose it so you get the car in the front more because that's part of the story so do that same shot just tilt your camera left now you look at him but you look down in the ring good she's really happy you just proposed a little softer on the hand it looks like a little old for you just a little bit higher and now you look down at the ring and you looking right here uh twenty robert look around look at me and I'm sorry it doesn't say a e o but adele in city hall and I know that let me take a look ok ok so I'm in take one shot okay I missed it the exact same thing guys understand say I would d'oh one come close to the front the car not right there okay and now both of you look down and bring good and probably shoot this with a fifty and do something you'd do something a little more like this so in this shot have the car there and the line's lead up to them versus in this it's kind of just you got off so for here I have kind of leading lines of the car move them up to feet something like that okay, cool okay, kwanza shoot next and I'll give you some tips on camera no no, I want it better carol I actually don't even know what is it? Ok same one. Okay, here you go on any ideas if anyone try fifty that fifties your lens I got it that's cool. I usually shoot crime. I mean, I'm generally prefer primes but depends on in a space like this. Sometimes it helps when you have a zoom lens cause you can't back up too much um when I'm on location I generally shoot primes one four primes in general should keep this one's back here quick you're walking like you're going to dinner like oh let's love student after dinner and how far apart do want them to stand like really closer hold hands and then just kind of do this for me and let me see you it looks like are you do that? You don't do that but yeah like while we're walking okay, that was good I like the hand of the jacket was good work that is good like you're walking but look at each other and what I do too and I'm trying to get somebody to walk is a good point try look like they're walking um I generally just so you know I will generally how they're not actually walk just takes that's back and forth and so I could get my focus and they could just like we're actually looking on did the same thing I have people jumping I don't have the music jump into the frame if I want that shot where the foot just barely off the ground I'll do that a little ways have them bounce back and forth to get that shot so same thing with walking can you do that then walked back and forth for me to fix it right away see okay yeah she doesn't have a cannon so don't worry it's not her okay it's it's right there so there's a flat exposure that's kind of zero zero doubt now let me know if you wanna change anything who should be next but look at each other why you're doing what you what's your story what you tell him okay, sorry and what you want your background okay? You just look away like it's a dreamy kid you think I got it that's very cute and I had footage about the great it's not our fault it's just it's there for how opposed yeah knows you're good cool very good ready for robin is gonna be the last person of the day and you want to photograph okay, I'm gonna I'm gonna suggest your background I mean, have you shoot all you want okay, then I'll give you suggestions go ahead. Okay, I would like for that I like the leading line looks I'm gonna have them to the side of the car and so we'll just head on that way to the mural, right? Other side here so cute and what I'm gonna have is the young lady put her hand like on his face just like gently so you all will be facing each other a little bit closer to the car. Yes, but not touching the car just just like hand on the face just very elegant like and where would you like him and you weren't under him on the way? I like it on his way on her waist, okay, so yeah, you make a little elbow there okay very nice yes I'm not sure what's in there for like what I've got a claim remaining yeah let me get a little bit look where you should begin I think I like that you're nice you want todo beautiful shine sweet may do uh once not here nice can you bring your hands a little bit closer together just uh young get there we go good and she's great with her hands there a lot of time to have to direct people not to squeeze rice is very nice gentle soft good the only thing I never say maybe we'll go have a little bit further back on the face just a little good well you know the more that is not covering his cheek the better it looks for him nice and actually I want you want to look at each other on the left and also robin if you're gonna get the headlight there either get it or like it looks have it off so maybe okay get a little bit more of it I'm gonna go for a shot where I don't have it at all that's mine I hope I caught you all in the middle let me just you all go ahead and look at each other very nice lovely e thing okay I also know that I would do a shot where would you look at each other every time I would also do kind of the leading lines of the car here um and then can you lean your head in towards him just a little bit more and good you look at me and robbie look at her look and put your head right right and right then just like that good ok and I'm gonna put this at two point oh so check out the leading lines here and see if that's focused not quite I focus back in henkin uh do a little bit of manual okay good and I looked right at me and cappie and I left put your head on her forehead on her forehead and that'll be the last shot of the day already last shot of the day close your eyes for me okay good thank you close your eyes keep close okay, perfect. All right you guys did a great job so they could take a look at that so I think that's similar to kind of what you're going for because in your shots they still look you know, soc there you love the leading lines but since they're not dominant in the frame it leads up to them but it kind of cuts off so when I got over and had a little more like since is coming out of a corner and it leads to corner it's a really strong dynamic line instead of going back to your shot it still is a line and she's not starting as strong okay a line going up to them so you both there both are solutions that depends on which one you prefer so cool great all right so where is lovely kenna oh whoa I'm not in the camera angle okay, good. I think I feel standing ready for a question okay notable focus would like to know how would you do this shot with older subjects I've been thinking of doing this type of vintage shop with my grand parents it's my grandpa has a real vintage car that sounds so and how would you pose them differently? Um I think the awesome to not pose them differently I think that would be even better personally, I would I mean I think the biggest difference is is I wouldn't maybe have her you know, doing the leg kick if it doesn't look natural but if she's young and vivacious and can rock the like kick I mean I would do it so I think I'd keep almost everything the same I think they'd be really cute. Yeah, it would be really cute to be adorable. All right, so one more question and then we have to let this cargo problem and the question is from ashley donuts photography for a starter what are the main things that you should be in your basic starter kit in terms of your you're doing location shooting like that atlas far as like a lot of fires and lenses or any of reflectors are okay, so I think that superstar let's see, you have absolutely nothing like nothing to go on. Um, I think that you need to have one reflector that has white on one side. Silver on the other. If you have a thirty two inch round one, that will be perfect. That's a good place to start. Um, bigger and better as you move up is maybe get a bigger reflector one that's kind of the five and one or three and won. So you could get the diffuser and then also silver gold, silver, gold mixed gives you more options, but silver and white are in a silver gold mix. That's all I really ever use and usually can get away with just silver and white um, four lenses. When I go out on location, I can achieve ninety percent of what I need to dio if I have a fifty one four in an eighty five one four so I can get my kind of fifteen, eighty five or if I have a twenty four to seventy and seventy two hundred, so give me something a little wider. Kind of a what lends to a telephoto lens for me? If you have nothing and you want to be able to cover all your bases a twenty four, seventy, seventy, two hundred gives you twenty four to two hundred and the two point eight range. Which means no matter what you do, you're going to be the chute. At two point eight. I just prefer one point for when I can. So

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!


John Yee

I have watched at least half a dozen Creative Live courses and this was definitely one of the most interesting and informative of them. Lindsay showed her wealth of knowledge in lighting, posing, post processing and marketing. I was truly impressed with her level of comfort in each field. She tackled different situations and questions with ease. I really liked the course layout as well. She shot her own themed shoots and explained them. Then she helped each student with their own very different styled shoots. It looked like a lot of fun and a great way to learn too. Then at the end Lindsay had a fun little light painting session. WELL DONE LINDSAY AND CREATIVE LIVE!!! ;-)

Allan Burch

I'm an artist and amateur photographer who has long been interested in the subject of fashion photography and how to incorporate it into my art. Lindsay impressed me with her depth of knowledge and her comprehensive and selfless method of presentation. Showing before and afters to illustrate technical differences was particularly helpful to me, as was seeing her explain the importance of concept and story. Posing, glowing skin, and lens flare techniques were also a treat to witness and learn from her. Her passion for the subject is tangible, and left me more excited about the potential for my own work. The sheer volume of information Lindsay shares in this workshop is tremendous, from idea to the shoot to post-production, and certainly worth the investment I made in my career. Thanks to Lindsay and thanks to Creative Live.


I thought Lindsay was totally amazing:) She has inspired me. I want to attend more of her workshops. She was a great teacher. I want to learn more from her. I would love to attend one of her intensives, but I will have to wait til next year:( I am just starting out and she has given me many ideas. I cannot say enough good about her. I would love to see Lindsay back:)