Shoot: Deck Lifestyle (Two Models)


Fashion Photography 101


Lesson Info

Shoot: Deck Lifestyle (Two Models)

Now we're trying to do more of a theme set with a concept again two models using props using a simple setup a b flat to take away on the bright light coming through on doll so this is given us the chance to kind of overexposed use a wide aptitude with it as well. So again simple set up this can be done anywhere we're done in your god and on your patio anything you can think of um so this is accessible for everyone to do, so I'm just gonna go in right now my settings as of now, I have one to five of a second shutter speed of three point five on my aperture I haven't I two hundred because the light is quite strong out here, I don't need to go up in the air so as much on my white balances on auto. The main reason for that is because the sun constantly changes it's moving it's, moving direction on the sky right now and save to say that's a good thing, so leave it on. So when I'm doing things like this, I'm looking for interaction. I'm experimenting option in landscaping, shooting portrait ...

I'm figuring out the best way to work approach this whenever I'm shooting with two models it's always good to experiment with that, so I'm going to go right in and start experimenting with that and show you some shots. Yeah, you're good there. Okay. So if you put the tea down its back, shelby and you just supposed to just put your right arm onto the sofa yet because I want some more interaction between you. Yeah. That's. Great. And just look towards me, it's. Beautiful. Okay, so chin a little bit and turn to the side way. Probably see from shots that I'm putting on the screen just experimenting with angles. It's very blown out in the background. But this is something that can bring that with time and only ten in tears and very touching as well. So, really again, it's about the interaction between the two girls going on simple setup it's about, you know, the props were using and because I'm shooting a fashion it charlie it's important. I get the details of the clothes I get the garments in the best light the structure of them with the colors and stuff. It's again. I'm just gonna take a few more. You keep watching and what's good about this is you can shoot from down here or you can shoot from above to get really cool shots. Tio um angle it's really important we need to double shots maybe with, like, a gutter down the middle it's important to have, like, a bit of interest on the left and room for the credits again, can you interact with the teeth? You just bring it up, maybe hold the spirit in the cup if you can come in close to each other. So I like the fact that you're on the edge here because I don't want you to get too lost in the soil to be on the edge and then shall be if you come this way a bit more. So you're both kind of on the same angle that said, I want you to lean back like you're enjoying the weather because we can do that. Luckily, we have new york weather for that and you interact in again and I just brings that closeness together and just be aware of your feet because I might get you in. Okay, wait, just bring your army because we just cropping your fingers off right now experiment from a different angle as well. Shelby, could you pick up the teeth? Means well, and what I want you to do now is interact so maybe, um, katherine, if you will look into would shelby and maybe like in mid laughter or just smiling and you're looking back at her you'll probably get a genuine one anyway because you always laugh when you like each other okay and the reason I'm getting them to do this because it's good interaction it's good to have them interact together and uh even though I said earlier I don't look for smiles on some shots like the props lend itself to the smile so it's good to have you know something that gives something else in the editorial to shelby could I have you out here a little bit more so just screwed over yeah because I'm shooting from a different angle it separates more okay, you can put the tea down as well and again just put both arms out to the side and looks like you're enjoying the sun yet fearful goes intothe getyou to swap sides okay, just arrange a bin are there any questions from you guys from what I'm doing so weii give uh so something that I noticed you doing was going from kind of a high angle to a low angle with there with that just a compositional like this looks better or was there a different tone you're going for? How did that affect the mood? Guess picture okay, so to me with the mood I'm trying to get um because this is kind of like a fun team you can even go you know above and try and get the right composition going below at the difference perspective in the skyline and again I'll probably bring those blues out of skyline they're already kind of over exposed right now but what's great is by having different perspectives when you put in an editorial together for se you can choose then it might go alongside another image if I'm shooting this way and it's important to have again option whenever I'm shooting so do you at this point do you call the makeup and your whole team in or did they say to you oh, we need to get in there also here most of the time they'll be on set ready because they know that especially with my extreme conditions like weather like sun models sweat very easily make up just getting to rykoff it's not very attractive and the same with like the heras well, how with humidity it just seems like placing down and that's going to save me with like, you know, fine has or anything later on to so what sort of conditions really can cause those big issues like you said heat yeah what about like cold or you know anything like that? What other conditions you really worry about the really bad one for me is rain because there's nothing you can do with rain is either you have a rainy day shooting, stick an umbrella in it and make it you know what? Something ruins hat ruins makeup close samples can't get wet, so on those particular situations just have to kind of cancel. Move on. What do you find a studio? Um, when it's kind of icy outside is also when it's cold models feel really uncomfortable and they have goose bumps and goose bumps are incredibly hard to edit out. So I try and avoid tune in those conditions as much as I can. But sometimes you fifty times you have to push free. What is the hardest part about this situation right here? Because the light is so harsh yet, and we've got two people. What? What is going on in your mind as you kind of approached from a lighting perspective. Okay, so when I came out here, first thing I noticed as I love the sofa and I was gonna use it no matter what. So I wanted to figure a way to diffuse that light to stop that light coming in whether that was through large reflector. Look, we have to be flats today, it's not something I would use on location. But it was great that lou kerry's helping hold this because it's just taken away that harsh light it was bringing in that kind of highlight. I don't want if I was doing a consistent story like the studio shots with this in a story, the light would have to be soft all the way through thinking system way, obviously we're working with, you know, the professionals, professionals here as far as your team goes, how, if you notice these issues when you were working with less experience stylists and makeup artists and hair styles, would you then at that point, say, hey, I'm having an issue here, I'm having a shoot here and have them fix it or is that somewhere where you grow together? Basically new styling teams definitely need direction it's good feed to tell them like, if you see something out of place, they appreciate it too what's good about these guys is that we'll just jump in, but it's, something that grows with me, like when I started, I didn't know a lot about photography didn't know about about their job, so we made mistakes together and we grew as well and that's what's good with using them now is that we laugh about those mistakes like you remember that time we did that or funny story? Ok, alright, looks like all right, yeah, okay, so we switched the models over just to give a different perspective again options I want to figure out whether this is best in front or the perspective works, we shall be in the back as well. Sometimes models have different strong points as well. So I just want to kind of see what works to see what doesn't. Could I have you girls actually both together at the back there? So if you both sitting on the same thinking back on both, almost like leaning back, like you're enjoying the weather? Yep, but not if you come over here a because you're in the way the light that way don't want any of that harsh light. That's perfect. Yep. Interacting that's. Great. And then if you could pull up the tea for me, just bring these legs here because they're very lost within here. Just bring them round to hear a little bit and push it on top of the scythe and then just put your arm over that's. Great. I love it. You guys. I didn't so good. Can you hold it up? If you're gonna drink, okay, and then we'll do some. Um if you put the tea down for me again, I just wanted to put you left arm out. Is if you like. Just lean in and then leading back so left home on the chair sorry this one you left one that way that way but try not to make it in quick kind of try and make it just out like that you got long gone. We'll just even just put it on t a leg then yeah, okay, so then can I get you shall be too put your legs on top of here and then pull your legs around onto the sofa so you like this so you feed erupt there? Yep. That's good. And then if you do the same thing but don't put your legs up just put them down that questions from you guys so you happy with how everything's going? Yeah. No, this is this is great. Uh, so I've noticed that you're asking them to get to fairly uncomfortable, like, awkward position. Yeah. Um, are you ok with doing that on a regular basis to your models? I mean, how did how did the models general said that you need to be sure that they are, you know, taking care of and not too cold or whatever. But as far as like posing, it seems like some get sore as well do do you consciously think about that when you're opposing them? Um it depends what kind of situation there like they composed like that for a while and that's why I keep changing them off. Swell. So I wanna ticket stiff in one area, um what they're in right now, they're pretty comfortable bit. Yeah. That's a good question, actually. It's good to kind of change it up a bit as much as you can. It's. Good. Teo see that they're comfortable, like you can kind of tell from their faces that they're not enjoying it or they are. And this comes down to good casting is well, knowing that model's a friendly and they're gonna put it with your request. Yeah. Notice for the most part that you are opposing them. Sort of from a from a distance. Some instructors or some photographers go over and move, you know, limbs and arms and hands. Do you ever do that? Do you touch your models or you know what? Your theory that depends on the situation. If it's a portrait or beauty, I'll go in and make sure that hands are in the right places from a distance. The reason I want to get the distance because we've got so many beautiful clothes, beautiful colors I want to get the background in because I'm really interested to get that blue and the highlight that so, it's, good for me to get everything in, but he chose to shoot a beauty with this. I definitely going in tweak those little things like hands around the face or the way the shoulder looks. Little things like that too. Okay, so I'm just gonna shoot a couple more of these, okay? So get leaning to each other. I want you to just put your head a little bit closer in. Yep. That's. Great. And then again, just put your hand more like this. Shelby yep. Yep. Perfect. Great. Ok. And shall we just put your arm on here and lean into it? Great. Yeah, that then I'd love to get portrayed shots. You know, we're in the last pose in there. You broke from your shoulders together. That's it perfect yet. And I had just put your head back a bit because you're a little bit taller. That's. It's, it's, no overpowering. Okay, and just bring your shoulders up yet. Great. And again, if I was shooting a cover shot for this, leave the gas on. Tom would crop around here. Thank you. Look up to here for me. Way. Okay, I think we got this. Great. Thank you, girls look great. Any questions from it? I think we've got that were some great images. So what let's just kind of talk about, like, really quickly. Your goal for it when you say it like you got some good images. Is itjust a feeling? What was it that you were looking at and looking for specific it's a feeling it's. When everything comes together on set, I feel like the models interacted. While I feel that these were probably the best out of it today, it always happens towards the middle of a shoot towards the last shot. So everyone's comfortable people know where the visions go in. And yeah, I still like the light works. The idea of the b flat was great and glad my guys helped with that. Um, just everything came together with composition as well and just flicking through. I can start to see already how they're gonna come come across and touching. You know, uh, I'm totally just throwing this out there for you. What would you do if you didn't have that b flat available? What if it were just straight up harsh light here? Yeah, so there was a tiny bit of shadow in this corner. So I would probably focused on close up shots, or even got a reflector off something small to just put behind their heads, because not all of the time people have the flat's. So, you know, most people have a reflector or just a white board hanging around or a piece of clocks. Agood thing is to have, like that piece of cloth on, set like a diffuser from a soft box, and just hang it up in the light. So it diffuses or have an assistant holding up a swell because harsh light, especially do things like this. Just not it doesn't complement the clothes. It actually makes it look like it's a mistake. So it's, good to try and control it as much as possible.

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.



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!