Fashion Photography 101

Lesson 4 of 39

Elements of a Successful Shoot

 

Fashion Photography 101

Lesson 4 of 39

Elements of a Successful Shoot

 

Lesson Info

Elements of a Successful Shoot

For the elements of a successful chute wei have passion, inspiration preparation and professionalism for these again all have to exist on a fashion shoot to make it successful you need to have passion on a shoot it needs to come out your personality needs to showing the image is your inspiration needs to show you inspired by what you're shooting is the concept and inspiration or a peace that you're inspired by the preparation how you go about setting up is a successful have you done a good job of preparing the shoot and professionalism is how you come across in the day how you work with the models are you good at working with a team that's also team working there because I think this is really important fashion photography is the collaboration between everyone involved on the shoot and teamwork has to be a successful collaboration so remember this this is a good thing fashion photography is a collaboration photographer model and creative team each of these kind of have to exist on an e...

ditorial and appetizing but personal work even kind of take away these people but you have to have these on a high end shoes so shoot preparation I'm gonna quickly talk about these things because I think these are really important visual in your idea is a new and emerging photographer for sketching and storyboards now I said to you that I don't do storyboards but that's just a personal thing I don't do story both because I go and put together a lot of things on set and talk with the stylist, and I have a big sand, the clothes and how they're going to come across on the day. Sketching is great because it enables she did just to a quick sketch, whether it should make a pot of stew in it, whether it's, the photography, whether you whether it's, anyone has said it's, just good to have a visual reference that you can show someone mood boards, I'm going to show you after this what a mood board is it's basically a template where you have like swatches, color pictures, any visual references, and that can really help when you send to an editorial in magazine, they'll say what your theme, what she mood board? What you lighting reference and often you need to send just a one document for each of those. This is my idea, so people are really switched on about what you want, also gathering visual references, so going in and pulling references so irishman autumn went to shoot, I'd reference order went to clothing, I put them all in a mood board, and I say this is my inspiration for the shoot and computer communicating with your team is really important when you finish filling your idea. Because again, thou have ideas that they'll bring to the table, and that can help you think of the things this well, this is a quick, um, mood board sketch on this illustration is buying my favorite makeup artist. Liam made she's also an illustrator, so she will do things like this because I'm not going to show you my sketches. I tried last night pull something up and I was so embarrassed. My boyfriend was like, that's embarrassing just don't include that. So leo gave me these to put in, and this is one of my chutes. So I can't show you where the people's images, but I would have, like a collection of images that inspire me from history from odd from everything, whether it's, you know, a piece of fabric that I like the look of this is sent to my team or if the editorial requests it or the client. So these are the chutes that would come direct from this inspiration, the cola, the mood that's going on and another one here as well. And now the illustration by leo here hat's the weight, so coming across on set. The colors you know, the lightness the beauty um the quirkiness of face everything comes together on the mood board and that's going to help you afterwards planet isn't always necessary and again this is what we talked about however allows your teams to understand you constant more clearly into executed so planet is vital on any shoot but it doesn't have to be a set plan for the day even if it's just a beginning bit where it's just a plan of your team an actual idea maybe one mood board it's just good to have that people are switched on and people really appreciate that when you send it so this is the make up artist that did the illustrations leo just before that this is on one of my workshop so she's showing them how we're gonna put the shoot together shows this little mood board says she's saying ok, this is my idea this is how we're gonna execute it to one of the students so casting models and I know this is gonna be a big question for a lot of photographers out there because it's something that is very difficult to approach and if you don't know how to do it it's very difficult to know how to even go about like looking for models or what to look for it so first I'm gonna put us a new photographer here so the new photographer the ways in which I see the cath models testing with friends very important to start off with so you have something to showing me on with scouting now I've been tempted to do this a number of times in new york where I would go around and I have a card and I'll see someone who's a potential face and sometimes I just want to go up in but the best thing is that new york mostly girls here are represented already, so we'll be no point if you're from a small hometown see beautiful girl in the street always have your business cards, hyundai and to share it with them and say, hey, would you like to pose for me? Because that's, how models have found for agencies, the scouts that go and do that you could discover the next new face so online listing such as model may handle pure stone they're good websites to get in with your emerging photographers are brand new photographers how you got there I don't work with and it speaks for teams as well. This is not just models you confined here you're looking for in these you do have to kind of go through it a little bit to find exactly who would be right but you know listen starts at least their experience you can kind of see no feedback as well it's great start there you can also start approaching small agencies don't be scared to approach small agencies. The only thing they're gonna want to see from you is that you have something to show you. What they want to see is simple images that could potentially cell there goes to clients. So when your approach it's, more agencies say, hey, I'm looking to test with a new face, tell them the idea of the shoot and see what comes from it emerging photography. So this is people that already have that experience, maybe have the tache sheets and just want to go forwards. And this is how I get my models to online listing motto, mayhem. We all have to go here sometimes it's got great models, and it also has bad models to so you have to just go for again see what's on that scouting approaching new talent because it's always good to approach new tile. If I see someone on facebook that my friend is collaborating with, I'll reach out to them and say, hey, would you like to cover on a shoot? Um, when I first moved to new york, it was like starting again because I had no team or my background was in london, all my contacts were in london. So I had to pick up the phone and find ages isn't brave and be like, hey, I know that you don't know who I am, but can I test some of your girls? I've just moved to new york and you'll be surprised at how they want images it's free images for them, so don't be scared about doing that and testing with new faces an experience face age is the way to get experience girls is to earn your recognition with agency and also when you shooting on higher fashion editorials or jobs that's when you get the experience, skulls, when you do personal work and when you're doing like shoots that you're gonna lay to submit its girls that have little experience because they're the ones that need pictures just a quick one of this is one of my friends in the city, and she did modeling for awhile. This is one of the first people I went with the new york when I came here. It was just mean, huh? And how she like suited seems so when I'm casting models. When I saw her for this theme, I thought the bridge with her red hair with these clothes, everything has to come together in the shot. So it's, always good to remember when you cast a motto, what are you looking for and who were you looking for? So model releases and I put this one in that cause I thought you people are gonna have a little questions about this. I can't get model leases unless it's a job because I use agency girls I'm working with I am too. I'm working with like the big agencies here, it's a very difficult to get those releases you working with friends? Well, ensign models, that model should find the day of the shoot, but check permission before booking the model check before you have her on the day, because if you want to use it and use it for an exhibition on your cell in the image and you don't ask them it's not gonna be a possibility if images of being sold and you do have a model release, keep your reputation up by giving that model some money, even though you have that release and I've done this when I've license images to put covers, give them a cook of the sea, you get in because they're gonna want to combat you and they'll appreciate that is so is an emergent photographer when you want model police permission needs to be granted by the agency, and again, this is really difficult to obtain gt but I have had situations where sometimes they'll sign something for me for a certain job, I don't have to shoot and tests and models for them for free, so it works hunting hunt so that's, how you build the kind of relationship with the agency's model can make or break a chute and casting models enable should've planned the shoot and figure out who is best suited to the shoot role. So whenever I cast, I'm sending emails, teo ten different agencies. I'm not just focused on one like I have a few favorite, but I'll send it out and say, this is what I'm looking for. I have a very specific look, and I get a cz many packages as I can, so I know who is best suited for the role cast in it could be like the way that they send a model packages across an email, or you could go visit the age of scene person and get to see the girls in their books or boys if he avoids too. So it's good to do both. If you're unsure, get a casted in person, see who's on set look at their personality because sometimes you get a bad attitude or you can kind of figure that out when you have the casting, so approaching a model model agency has a new and emerging photographer research relevant age. Senses have a portfolio of work ready to show and again, simple work tests state the terms of the shoot how it's used the agency is they're going to want to know where that she's going if it's suspect, which is a shoot that's you've shot and you want to later submit, they want to know that because they want to know who to send you. They can't send you more experienced girls because they have a plan for where the girls are going. They want to say, hey, this girl is going into big things, we don't want to mix it with the smaller editorial stuff and remember to start small building relationships again, help you further down the line. Um doing those first few, you know, free tax shoots or working with them on a regular basis two to three times a month, just doing simple black and white beautiful fashion portrait they're going to appreciate that and they're going to start to give you great girls. I've got some great relationships and agencies here in new york, if I have a model turned up too well, I have a model set for a shoot me, my makeup artist there. Well, I'm set and then they phoned me and they say, sorry the model got sick, but we've got the team together and everything's planned stylist for the clothes they'll foamy open semi an even better girl to compensate so that's what good relationships will build you so this is a new face that I shot about two years ago now that seems kind of already been here a while now okay this this is maddie she's fifteen to beautiful model new face after the shoot she got really big within the fashion industry so it's important when you're a fashion photographer to look for these things to look outside the box and think is that model going to go somewhere like I see a lot of potentials in the face potentially the faces that I shoot the man he was one of them um I just loved shooting a and you can kind of tell from the picture was really inspired by her face what brought to it if you're not inspired by the model you shoot in it's gonna show this ball so be really sure about who you want to use on a shoot another one this's to show that this is a shoot with I am d where I shot a few of the girls before the shoot like really simple given them beautiful pictures and then I was able to go and do something crazy and this is not something to go with using their book that maps it's all a little bit scary for the clients but it's a great editorial piece and she works really well friend okay, so organized in a creative team as a new photographer, you don't have that many options solid, but you have some great people to start off with to build further down the line. So d I y selling a makeup go out and grab some clothes yourself tested experiment with it the first few years, and when you get into photography by experimentation and having fun, don't be too serious with it straight away, because that's, when you work with life approaching recent graduates of new talent, so colleges that have recent people that have you graduated in fashion, silent with a fashion background, the other people that will have more experience and a keen to get their portfolios start because they've just left school again. Online listings model may hand this is your port of call for things when you starting officer, photographer grateful all kind of things wardrobe, hair, makeup models is an emergent photographer again, online listings, we still have to use him approaching small agencies for the creative team telling age of says they'll represent photographers, have makeup silent, and you also have agencies that represent everyone with the photographer so it's good to get in with them see who's available for testing it, maybe somebody that has experienced, but they need to build their portfolio and you're bringing a great shoot to the table. I'm reaching out by social media, and this is something I love doing because sometimes I'll see someone fabulous that I want to work with on social media and I'll say, I'll tweet today and I'll be like, hey would love to work with you, whether it's, a man seen creative team, had makeup on social media's great for that, because in enable should have that closeness and connection and they'll respond, and then we'll set something up and that's a fantastic way of getting your casting out there. So the creative team, because is the wardrobe stylist hast stylist, the makeup artist and the additional for the corps is the people that you have on set that you'll need on set for hire and fashion photography. You will need these people to complete every area of the spectrum because they're talented, each area additional you would have an art director, and this depends on the shooter's. Well, the props, stylist, the manicurists, digital photo assistant and assistance to the court in for people that will infest these guys at the top as well. So when you run a big editorial advertising shoot, you'll have all of these guys involved and it's your job still direct and be the person everyone comes to. But these people are going to help you out and really bring you what to the next level is ball so whenever I'm shooting with my creative team and I should we've got alexi today doing uh whenever I'm working with them they're one set most of the time they're there to make tweaks they're there to make sure that my vision is put into the hair that I am happy with it that they tweak it if if I'm not happy with it and that you know they're available to do anything when I asked them so usually I don't have that many questions um I'm very looking to have such a great creative team and I know that my what couldn't be the same without having them onboard um so you know, I give them a lot of credit if I have jobs I'll put them on the jobs I'll put them forward to things and again building relationships samos model agencies it's all about networking in relationships how you treat people it's usually how you know you'll get treated back to organizing a team whose skill set and personalities appropriate for your concept is essential for a great shoot so when you getting your creative team what is that skill set? What specialized at is that person good it's straight hair are they good at doing curly bouncy hair there's a glamorous shoot so you've got to think about the theme and what their skill is sometimes you have editorial has silenced he'll be really good at crazy creative things but sometimes you just want my confession hat silas you could just do a good blow dry same with makeup same with wardrobe stylist today I'm going to introduce you to cat she's great at pulling vintage colorful she's great at layer in tomorrow's science aaron is great it glamorous beautiful gowns and dresses so think him out why you're going to use those people and what skill set they have so here's one of my sets um as you can see most of the time when we all working with the creative team, we're just getting changed on set it's great to have them on board so we got the style state system and another science assistant here who is a ll coming to the table and bringing that together it also saves you time on set by having extra hands onboard as well. This is not unusual to have this many people in the firing line um usually I'm shooting of my video guy that head and this is all that silas assistance because when you're working on location limited time you needle these people toe watch your back you two got there maybe you'll need some food so someone can go grab that and you just need to focus on the photography that's the most in wouldn't roll and I kind of get overwhelmed with that because I like to do everything so sometimes I have to step back and say that, you know, I'm the creative vision they're the ones there that help organizing your location or studio is a new photographer access local environment so when I started abandoned buildings as long as you're not gonna get into trouble um d I y studio and backdrop so most of the time he's my kitchen wall you know, things like this kind of war in this room is excellent you don't have to go out and spend a lot of money, you know studio is just a wolf and a floor it's you don't have to get to you like the one we're in today to create beautiful images shad studios so if you're thinking about shooting regularly, think about like, teaming up with someone else that's of the same like experience of you and paying for the rent of one so you can use it every time you want to shoot to bring your clients in with when you're working from home and you have people coming in and I do this with my six hundred fifteen square feet apartment right now if that I have everyone crammed into my apartment it's just unprofessional for clients, you can't get away from work, so sometimes it's good to share the studio emerging photographers again shed studio is that many people I know that we'll go out chefs use because of the cost location houses I use a lot of thes um they're kind of like seemed location houses or environments like warehouses props they're expensive to use but sometimes you might be able to get a test rate if you tell them it's a test or a small editorial you can usually get them down and convince them but don't push it well because sometimes you know they're not very nice people a professional studio so when you're working on a hiring set if you will but not risk well if there are directors responsible for booking this thing grain or the client but if you are responsible when you lookinfor studios look att the refuse look at what is at the studio so they have all the accessories for the team do they have comfortable space feeder work in a few times? I've done shoots and studios like workshops and it's been really hard in there like a hundred five degrees because there's been no air conditioning so these are like small little things that have a checklist when you find up check what people have onboard because you don't want anyone and comfortable in the day so yeah when I'm on set usually I'm here my styling team are on board so if anything's out of place if there's like wind blowing is over thing comes off with a head piece. They're there to jump in whenever I need them. And this is how it should be because you pushed for time whenever you do fashion work. So it's, great to have allies on set as a photographer, a location can be your greatest asset, and a great location exists for you, regardless of your budget. So it's, great to just go out there and use what you can. It doesn't matter whether you like in the midwest or you're in brooklyn, you know, it was great locations I actually missed living in england, where there was like a lake over my road. Beautiful parks. So I usually have to travel upstate to get that here. I kind of take it for granted sometimes, but yeah, this is a great point. Like everything else I'm gonna teach you. It does not matter about your budget. You can get something from any location you use this with, um, when I was in australia into naturally and the organizer ainsley of the inspire me program, I was talking to her about a shipwreck. I've always wanted to do a shoot with a shipwreck. So this was just something that was lying in the sea that anyone could access so sometimes it's just about reaching out, maybe google in online where can I find a beautiful location? Where can I you know, is there a ship back anywhere nearby and just see like forums and other people are maybe reach out creative team? So just like the bird cage I did, I reached out to my contact danielle, who was also the model she organized that with the people that own the peace, so sometimes it's weapon reaching out like that and seeing what people have available and accessible to you another location. So in new york, well, so this is me going out with the fold shoot, you've been the bridge in the beautiful skyline to get out there again, natural light this is primarily what I use full of my setups when I'm outside in a location I don't want to be a distraction to anybody, I want to go with the limited equipment as possible because, you know, there is an issue with permits sometimes, and it really depends on what you do and sometimes you can get away with it was a big production shoot you really need to get a permit for that. So shoot preparation recap the idea planned before the shoot casting your model is how successful that is to you shoot, organizing your locational studio and how to organize it successfully, so now I'm going to talk about while I'm shooting what fun set as we're shooting what things were looking out for so working with your creative team these good practices for successful shoots give clear direction, compliment and show appreciation because they're gonna appreciate that if you don't compliment them, I'll tell them they've done a good job, then they think they've probably didn't badly or that you're not happy with what they've done organized time frames for them to work with and provide space for them to work within it's really important that they're comfortable with doing their jobs so they can focus on their talent and bring it to the table with you that's going to make the half shooting and everyone's gonna be you know, but beat on set because that's a big important thing too is quite a funny show actually my one of my silence and england christian amazing stylist what with them since the early days of model mayhem but when it was a baby um so this was an advertising job for breast cancer on dh he was on set, he was great, there was wind blowing your dresses would find everywhere. We didn't predict that being on a rooftop in a windy day with having a washing line full of clothes it would be an issue oh, the art director was like, hey, we're gonna do this how can we make it happen? So he was now on set every moment when the wind blew something off he put it back on we don't have much time again it was just about getting the shot having everyone's hands on board to make it happen and another third this is from a velveteen rabbit an editorial shoot deborah is here today with make makeup artist stylist here and in me on that this is how we usually sit down sometimes and talk about the set if something's not going right well like you know sit down recap what do we do and what shots haven't we got? What have we got? What was successful and it's really important to have that connection between your styling team and just be honest with them if something isn't working that's fine tell them to move on working with your model is the's a good practices for when you're working with them? Share your ideas or visual references before enduring the shoot, so this is great when you do an editorial on personal work even with a less experienced girl share those ideas tell them what you want show them visual references imposes and also during the shoot if you haven't unconfident model on whether you're a portrait photographer look into late, you know, is that subject nervous? Do they know what to do? Show them things you know encourage them compliment then maybe the model and communicate with them so I'm often doing this I'm always like bending down and do weird poses and showing them exactly what it was, because sometimes people don't get it, and sometimes they need to see it themselves like a mirror, so don't be afraid to do that because people appreciate that when you really show them what to do, encourage and compliment always encouraged the model, whatever it is, even if something you know isn't going too badly encourage them, but I was to tell him what isn't going right but show in the back of the camera this is working, but this isn't can we try this again and keep them comfortable and air conditioning and give them a seat? Don't have them on set too long feed them. I'm always into that with motto is I'm always like making sure that they eat properly and that they have water if you have good models and they're happy on set, you're gonna get better pictures, another one for me on set again just natural light photo shoot these models were great even though all these people were watching mrs downing dumb boy here that was really busy tourist area. Models like this a great because they'll just they'll do it and they won't be like phase, but when you're working with a new face they'll be a little bit nervous so it's really important to put those techniques I just talked about into practice on shoots like that so working with multiple models so this is something I do a lot in my recent work and people have a problem with this because it's hard to have two girls that a similar that will complement each other and also knowing how to pose them for the best results as well it takes a bit of practice sometimes it's about experimentation and this is why I've got two models today on a few of the sets because I want to show you that sometimes it might not work sometimes it does it's purely about experimentation and knowing what you're looking for organize your time when you're working with beautiful models it's good to organize your time because it takes so long if using t models you sometimes gotta get singles ana to model shot for an outfit so it's almost like double the work think of a planet scape a set schedule for the day spent twenty minutes on a shoot scrap move on change come back so you've got, you know, a variety of shots um with single is most of the agencies when you shoot in model agent they'll want to see shots with the single girl they don't want shots of two girls in a agency portfolio because that doesn't show that the models got great tachyons shows that she could just went well with another girl communication is key keep them updated on what one they can't see because they're together so if they put a head on someone's shoulder and someone else puts it on the head and he looks or quit, they're not going to know that they don't know what the other goal is doing so make them aware say like this girl is doing this can you can you do the same thing? Can you move your mouth in that way it's all about communication on set maintain consistency and this is with the styling with the lighting if you have a modeling one outfit, make sure the second outfitted the other girls were in compliment there's a consistent style going for the chute that the poses a similar but the way the models look complement it can even be a contrast or it can really look very similar and again important keep them comfortable and set don't overwork set, you know maybe take one out, do a one shot of one girl and then bring both models back in as well uh this is from a recent shoot I did down at coney island and this is what I was talking about how bad the weather, woz and I had to replicate resort. It was very difficult, it's going to a lot of retouching involved, but basically this is me on set natural light two models together, I wasn't to mirror the same pose. The models look similar in ways, but they complement each other. One is stronger than the other, but one of the girls is with some more experience in the other same with this shoot, these were twins on set. What was fantastic about watching these two girls move is that as twins, that kind of knew how each other would pose. So when one moved in one way, one would know how they're going to see is almost like watching a dance. It was it was beautiful, so what's great when you have things like this is this couldn't have worked if the girls were very different, there has to be a connection, there's a connection between the audience and the lighting with the warmth and the color and the fun theme there's also a connection between the models or whenever I'm shooting multiple models, there has to be a connection if the separation it doesn't work, so shoot tips to remember plan, plan and more planning, so if you can plan beforehand. Again, don't plant everything because things will change nothing is ever the same once said, keep everyone in the loop of what you're doing, whether it's that you'd change stylin on set whether you're changing anything this's a wizard, good idea, be flexible and have backup plans because something could go wrong a light could break and it takes a while to get another one maybe you go shoot natural light maybe you have a second studio option. Maybe you have a new location if the weather's bad always have a backup plan again, most important you are the director of the shoot would be open to suggestions. So when you're working with a team, you are the person that does everything you're the director, but if someone has an idea and brings it to the table, be open for it think about ways you can include it as well. I never forget to experiment. I think this is important again with personal work do something go out there and try something if you don't think it's gonna work because mistakes often happen for the best and you'll learn from that too. Okay, finally done. So let's get started with this. Um we're gonna take a quick break, kanna well, yes, we have yet we have more questions, yeah, e forget about you guys all right, let's see what we've got let's see? Shaunie says you know we've noticed that you shoot a lot in public spaces are there any legal issues when shooting in public space? Do you need an official permission or a permit or anything like that? The permits I basically would say to that if you shoot in in light new york city and it's a busy tourist area if it's something that involves a lot of you know your closing off the street and I researched it's a recent shoot so if you like just er been something in area, then I would ask for permission usually it's just something you sign you don't even have to pay money, so if you have a bigger production I would say yes if you have a smaller editorial sheet where it's too she will reflect her natural light and a team then just go and do it if you get asked, maybe me bond will have a second plan. All right? But you talked about, uh, a new face model earlier and my personal question was that what defines a new face? And are there other industry categories within model's world that that defined the different stages? Yeah, well, there's the development board on most agencies they'll call it development because those are the girls that they recently took on whether just scouted brand new agencies and there, the girls that you know and haven't quite made it to the biggest stages yet there the girls that will still be open for test in there looking for a new work. Then you have the main board, which is they more experienced girls. But then you also have, like the men's board, you have other boards as well, like, you know, for older people in the industry. So it's, good to know from those things. There's a good sections to give you kind of an idea of what you want to choose, and why, alright, cool that's, great, and just a further on that can you said testing for people who are new to this industry? Could you also kind of defined what testing is be talking about test stating hard tomorrow, the perfect day for that? But I will say testing is when you're like tests and light, there were a model time for print and puss, well, testing time for print, kind of going for the same thing t f p and then you have personal work where it's like you're putting an idea together because you like the idea behind it's, an editorial story, or it's a personal idea, and you put everything to it a test is more you test in an x very mental and idea whether it's the lens light in a model so it's like fashion portrait almost personal work is like more you going out there and created story. Great. Uh, johanna, forty four, is one of you ever build a shoot or design a team based on a model and how she inspires you rather than finding a model for a theme. It's. A really good question, because, yes, that happens a lot. Um, whenever agency's always kick me in the loop about who's in town with the models on, a lot of agencies know my preference on the kind of girls I go for. So sometimes I'll just check in and say, who's in town, they'll send me a package, and I'm like, wow, I have to shoot that girl, so sometimes I'll find someone and go, okay, I'm shooting you. What can I do? That's gonna compliment even most whether it's a film noir, whether it's a vintage shoot, whether it's a resort story. So yes, definitely that's, always a good way to find inspiration, too.

Class Description


In this fashion photography course, learn every stage of a fashion shoot, from casting your styling team and model to the shoot day itself: shooting in-studio and on-location, lighting techniques, model direction, and finally, retouching, business, marketing, and social media advertising.

Whatever type of photographer you are and whatever your experience level, you can learn something from this fashion photography course -- the elements of fashion photography and how to integrate them with your own business techniques! Lara will instill you with confidence as she shares her personal experiences of her journey in the industry thus far, guiding you towards making your own mark within the industry.

Reviews

James
 

Having dusted off my camera after a 3 year inspiration slump I decided to head toward the fashion/editorial/Fine art/Portrait route. I discovered this course and after researching Lara Jade's work and seeing the course content I decided to buy the course. I'm completely new to the fashion world having mainly shot personal stuff. Anyway, for anyone reading this review who might be thinking 'should I, shouldn't I book this course?' I'm only up to video 6 - the vintage natural light look. I've learned so much already, even if I'd paid the same and got the first 6 videos I'd have been happy. So far it's covered so much about planning shoots, directing models. I like the fact that Jade is a working professional photographer rather than a want-to-be-but-failed or a long time passed has-been. I like that she's British (as am I). I like how she teaches and how down to earth she is and how happy she is to answer questions. I like how humble she is. The content, the teaching style is nothing short of being an assistant on set and learning first hand. Don't think about buying this course, just do it. You will not be sorry, I promise you!

a Creativelive Student
 

Lara's course was very well put together. She covered so many aspects of her shoots, including letting her creative team have the perfect amount of input; so she demonstrated how important it is to surround yourself with the right people and consistently getting their input. I'd love to be able to work with her hair stylist and wardrobe stylist for future editorial shoots. For being as young as Lara is, she is beyond her years in preparedness, experience, and aptitude to instruct. I thought she handled situations, like some "dead air" during live shoots very well by explaining in detail what was going on. Needless to say, I was super impressed.

Adrian Farr
 

Lara has been a long time favourite photographer of mine. Her style is very unique and wonderful to look at. I bought her Fashion Photography book 101 and this course happily goes well alongside it. This course is ideal for those looking to make the leap into fashion photography and is also valuable for emerging photographers. The advice Lara gives focuses on what steps to take in the early stages, as well as how to get your work out there and how to get your style noticed. I will certainly enjoy adding this workshop to my growing collection of CreativeLive courses.