So to start the day off, we did a one light softbook center, which is something I go to for most of my fashion portrait work, a lot of my editorial studio work as well again reference it's really easy set up really simple, but it's effective, it depends on your subject and it's really about bringing what's going on in the in the photo, and then bring in the technical part afterwards. So if we could click onto the next one, this was playing around with the different concepts of something really fun. Um, and again, one light set up just from the side coming down, we have the grade ian on the background, so we can go either way on this in retouching as well. So what I'm looking for is when I'm taking these shots, what is the interaction between the model? What is the theme and is what we're doing in camera relevant to the theme as well. So I'm just having a little bit of fun with the girls and remembering that the's things that they're holding, even though we had a prop stylist, this was ...
made out of milk shake and powder, and I think mashed potato mix with some food coloring, and this was spaghetti that was dyed with food coloring. So you can really go and grab the swings of shit it's accessible for anyone that wants to do them it's not far from reach, ok, could we jump on to the next? Thankyou. So this was the natural light set up we had over in the corner tv flats at the science, which helped block out the sun, but was to help balance the light back just slightly on what was great about this is I can use a high s o I love using a higher so because when I'm out side with backlight in one of them things like this, it gives that kind of that magical field light comes through past the models, and it also helps to use a wide aperture. So those two things go hand in hand whenever I'm doing things like this, I'm always focusing on the model's eyes, a talking point in my photos that I want to show emotion, there's, some kind of romanticism going on so it's all about the eyes to focus on the model, the way they come across and because I'm using two models it's about the interaction I get so looking at that photo do they look uncomfortable today, look relaxed. This for me would be a great freddy to work with you've got the option at the top if you wanted to include a cover it's easy to extend if you wanted it to its given some space it's given some space to either side as well and this could what for an editorial eco front cover of a magazine or you know a client that has jewellery for example some featuring that as well. Okay, the next one so when we shoot things like this whenever I'm shooting an editorial I shoot this kind of coverup shins but as they mentioned, I always shoot with a landscape picture but I leave room in the middle for the gutter so in here, if this was a magazine spread the good would come across this girl's um shelby's eyebrow just on here down the middle of the shot and you also have a room to crop so I give myself enough room around the side um and it's also great for a beauty shot you can really go in there and work with the detail of the faces well next so this one was the experiment with the glasses and a few people picked up earlier on the reflection in the glass is, um this would not affect me in any way because it's very easy to pick up, you know and get rid of that cloning going in and and using different tools to get that. And I was, I think it's, quite interesting as well. When you have little mistakes like that, sometimes it can look fun going in. Experimenting with different parts in the glass is, um, if I was to take this into photo shop, I would just clean up the skin, bring detail back. I would add that kind of retro tone. And these are things that were going to be doing on day three of you stood out compared to the other ones in the siri's. This was just because of the composition, the way she was staring at the camera, the way that framing works at the bottom of the thing. Um, if I was to do anything that will bring out the eyes in this, I would go in and really bring out the dead because they do get a bit lost in there. But there's, definitely some others of the shot, but they were more landscape, so I just put it in there to show you guys like, you know how the glass one want anymore. Questions from any of you. So it is your favorites. Just select from the shoot. So we've got about ten select we went through um normal well it just so I can have a talking point so all of them have something I could talk about to show you a swell usually I believe a day in between shooting to kind of reflect and then come back to it okay the next one so I think these are more of my favorites it's more like the classic portrayed style I think that everything is coming together really well in here I want to do anything I might move this edge of so far along like clone it because for me it throws the composition off slightly by having that kind of line going down but I think she looks beautiful this connection it's a great angle for her makeup looks good hair looks good there's things I can easily retouching the hair just the top here and the lighting and everything has come together quite well in the shot to the next one wanting to include another one of these because I shot this again for the same reason I wanted the gutter in the middle if I was put in the magazine the option for credits for clothing and the team credits on the right hand side it's also good for an editorial from product you've got everything in the shot you've got the ring, you got shoes, you've got the dress and all the clothing looks complimentary if I was to do anything here would probably clone or liquefy this left dress where it comes in your the hand to make it look like it fitted her better um in hindsight that's probably something that I could have worked with stylist because around like a time constraint it's always hard to get it in okay, next yes? Uh look like you know, it was it was properly tied and I could totally imagine that just in a magazine just as is yeah. Are you ever worried if you have no great shot like that if they space for like, a bleed when they're pretty they do that in magazines they need like a bleak spot no, no always, um front cover you should we have a weird format? I would say that here any thing and when I'm shooting things like this it's taken still cross a little bit. Well, they can just extend in most magazines like when I'm working like material girl of the things that have a layout so they'll be white um so there'll be a full page and then they'll be an image in the centre of the page to see the layout kind of worked well, there's always good to know that when you work with the magazine, grab a copy of it and kind of see the way the layout works to anything else so this was outside with pure natural light we had a b flat on the left here. You kind of still seeing on the side. This blocked out the bright light that was coming for it, because we didn't want the highlight in the harsh light. You could do this with diffuse the cloth. You could do this with the reflector. You can just put it up there and having assistant hold it most of the time when I'm using harsh light outdoors, because some clients will push you to do it, even though you tell them that, you know, I can't shoot in twelve noon, like it's not gonna work, they'll be like, well, we're on a budget. We're on a tight schedule, you've got to get through it, and they expect windows. So that's, a great way, haven't reflected, is not only good for reflecting light it's, good for blocking out light as well. So a large reflective would be great for no reason. Just, yeah, just block out the light inside. But we actually had a white, uh, b flat stuck to the door. Ok, here, where the light was coming in, it was about slightly back, and this is why you can see in the girl's glasses. Does your and I get you something that will probably eddie out? Carter. But again, if you wanted to crop into this, you could just a little bit at the bottom, but good, it would be straight down the middle here, so I'm thinking about the composition and the way, and the way I shoot is very like cinematic when I do landscape swell, any questions about the setup so well, okay, the next one, so again, another shot from outside. Your natural light but just experimenting with perspective using the girl's best features so um cat that's her profile on the way her hair what's back with the way she knew she's very poised and then with shelby she has great burgh she's good with her hands so dish using the models best points when I'm shooting so fight this I had a two point eight outside just great because we've thrown this distracting background out so there was like four balls of light on the side and I don't want them I want to focus on the girls what was great was I had a high eso no I had a low I go and my aptitude is low so what I want is just again just get that kind of diffusion coming through in the background but not too much because I want to enhance the blue in the sky afterwards well I want to burn that back in it's possible okay next okay do we have the whole set of keys? Yeah can you probably go to maybe this second from left um tell you oh, they won two nine one okay, so this is the beauty dish like one light I had a reflector just a chin here and what I'm doing when I'm shooting beauty and this kind of portrait thing I'm looking at the shoulders to place my model ok? So I'm looking at the way that they can pose to complement the face as well, and again leaving my gap at the top. Give him some room on the edges and it's all about the models. Look, and the way she comes across in the image. When I used the beauty dish, I use it on high aperture. The reason for this is because it's, great for beauty. It's, great to go in and edit skin pores. But when you go into the skin on here, it's, just really easy to work with. It's. Really easy to bring out texture. This well.