Fashion Photography 101

Lesson 9 of 39

Shoot: Mod Look (One Model)

 

Fashion Photography 101

Lesson 9 of 39

Shoot: Mod Look (One Model)

 

Lesson Info

Shoot: Mod Look (One Model)

I figured we could change it up easily with a hat and go pretty mod with this one um and then I have a coat that I'm going to see if it does or does not work indefinitely definitely some fabulous sunglasses that I have here from rock era um you gotta get justice unless is way have a few options so we'll say I'm a little bit obsessed with sunglasses shoot some always using them but these are by machicura sunglasses are fantastic they lend them for shoots um returned credit so it's always a great thing yeah to get shoots and they're fabulous you can't you can't find about fair and so what is the idea about the hat so we went for well, I know what you want well, first off I love the color combination with the yellow and the at the blue here um but the hat I think we wanted a little bit more for just to give it a little bit of a different texture um thank you and it really changes her look yeah don't strain it will completely change look, it'll change her face a little bit, especially with...

the sunglasses on to so she will be wearing the same dress, but it'll feel completely different and the great things again without hats and props is that you can make these yourself if you wanted to um, have same with the hats you could go to try to shop and like a thrift store and find most of this well, so it's just about finding things that will work and having a good eye for the quote as well, put a feather in their hat you so when I'm working with my creative team on set there's always about and you're not gonna experience, say there's, no waiting today, um, but usually there's, like twenty minutes in between each thought continues shooting about eight ten looks so what's great about that is I can get looks done, but there's also so downtime, assuming that downtime, I would like to review the shot think about how I'm going to approach the next one, maybe pull out my inspiration, go over what I'm gonna do for the next like a swell. So is there any questions from anything longest? I loathe what about the shortest amount of time that you've ever had to do a shoot like if you're on locations? Um recently I've had that problem. Um, I think about five to six hours there's been times where we've travelled to a shoot and I forgot about the fact it gets dark in a certain time and we'll start shooting it like, say to when hera makeups done, and then it gets stark around five, seven, three hours so is always a bit of a rush, but I find that every sheet like that challenge and I learned from it as well. So that's always a good thing for me. So why, even this week, when I've done sheets, I'd like so much from mistakes that happened, but it's, what help with best was a wedding photographer supplies we only have, like thirty minutes, maybe even fifteen or twenty minutes. If it's ugly, I do the whole portrait's for like the bride and groom. So are there any like, go to keep asking those questions? Are there any go to poses that you really like that you find yourself using again and again? It's just the closeness like you say you, brian closeness arms remember the hands very delicate dress being the main focus of the image. Yeah, like the weddings, it's all about the romanticism in the way the beacon do that. I would try and look for inspiration in the way the old painter's way do things as well. A meeting replicate poses that they've done the way that kind of set in portrait's too it will be great I love that jacket any questions from the live audience certainly do, and one is from essence who says, do you have a favorite set of poses? Or do you just make them up as you go along? I kind of have different ideas in my head of what I like um especially the beauty shop where you've got the shoulder and the head coming through that's always a good one portrait speedy, um, I tend to try and do a profile shot you're just a profile and haven't really, greatly arch of the shoulder like classic portrait. I love doing a static shot if there's like a quirky theme going on, especially with two girls, how they could just but, you know, kind of robotic standing there that's always great. Um, but I don't have, like, a set like that. I'd have opposing cards or anything like that. I just kind of know what I like, and it kind of comes alive on set as well, because I never know sometimes what the girls are going at like until I get there in how they gonna pose in how like interactive they're going to be that's great and, um, along the same lines, no, dobby is wondering how you come up with your compositions. Are you considering the rules or just getting along is experimenting? I'm not a composition person, I tried to figure out how they're gonna look on a page, how they're gonna look on a book cover. But I don't follow rule of that's like a lot of photographers do, but because I'm really self taught background, I try and focus on the idea again robyn technicality so it's great to have that in mind when you shoot in but for what I do in the weight comes across in my work isn't necessarily something I need that's great thank you, my love and laura, can you talk a little bit about kind of what you had asked to be the team beforehand to create a look? So I I mean cat of short like this stall before and it was really successful, so I wanted to show you guys basically a fifty shoot kind of referencing what I'd have done um so I gave him like a mood board reference represent like recent campaigns from like order, winter, spring, summer bringing to the table different ideas um I will send the prop silence some ideas on what I would like sending like campaign charts, whether like sofer included a milkshake with some really great campaigns that well, I could die in a theme so I would send all of that inspiration I was sending in my model references when I pulled the models as well and ask their opinion so that's all that's everything I mean most of what they bring to the table is need given them an idea and then coming back acne waits the results weren't going from that that's wonderful. Thank you. What was it about laura about these models that you selected them? I feel it always lasted my model choice and that's only because I go for someone who's a little bit otherworldly. Um you'll probably see that with the girls I'm using tomorrow today the goes it's just the way that you know, they got far apart eyes, small lips the way the heart shaped face that kind of look that works beautifully it's almost like a canvas and it works beautifully to do this where you can really over style, but they're still gonna look great in whatever you put them in your castle cast them so I get packages, so email the model agency will get packages and stated that agency I have the shoot this is my reference. Do you have any girls with this description? So I describe it for eyes like this and I'm very specific with the shoots I do so that that helps, then they could be on the same page and what's great about model agencies is they get to know what you like is well, so when a new girls in town, as I said earlier, they'll send them over and I'll be like, would you like to shoot this person? So how many did you look before choosing um I have four different packages with about ten twenty girls there's like fifty girls I would say yeah, you should have about one hundred they have like ten packages to choose from the fashion editorial so it's a lot of work knowing he's going to look good but it's also a case of making needed them in person or pulling images from one girl a fuse and tomatoes and like put them together on a page and getting polaroids that's another thing from my lady says if you go and ask him for a model you don't always know what they're gonna look like natural so it's always good to say do you have a polaroid or did you tell him that model so you can really see what they look like in person you like a drink over? Yeah, we just sort of play with it that's great. Did you have any more questions? I think they were my staff. No sure. Yeah, we definitely have questions. Um my twenty one seventy six is one and roughly how often you get your team together to test and do you work with the same team on a regular basis? I have about three different teams but I was to have a favorite go to team um debra and alex definite one of my favorite teams to work with have about three teams here I have about three teams in london because, you know, schedules khun claire she always need options and also people specialize in different skills so one person will work for commercial job. One person will work for beauty shoot and so forth and it's also about doing a test if they're interested in testing like, is it good for that? Because, well, I test with my team probably around two to three times a month I can that's a lot with touching as well with a little time it takes I love to do more than that, but yeah, it's always good to set time aside to do them. So now I'm seeing this outfit when I'm seeing the most is how this kind of shot comes to play like this with the hands here to make a portrait is what this is beautiful for beauty also great to portrait but I'm looking for is the colors the way that her expression is and symmetry because glass is always give me symmetry on shot, so just go back a little bit for me and what I want you to do is very symmetrical just play with the and this hand has the jewelry on it, so maybe just like that again, just separate your fingers that's perfect, very symmetrical look down the camera when I have it up to separate you lips slightly great, so have the same settings right now so a thousand of second on my should've speed a two point eight aperture so I can focus on the glasses on I s o six forty to let the light in great that's beautiful love it. Just be careful of having too much up here because it's too much detail already there's not so much detail around the next. So even if you holding your collar just like that yeah, and again, keeping it symmetrical so just made this hand close into your body here. Beautiful. You just hold that for a few shots. Great. Could you put a hand just up, tio? Yeah. Okay, wait. You guys have any questions for this look? Nine wave question from the internet. So question from eight pints is how do you prevent unwanted reflections and sunglasses? That's a good one? Because sometimes I shoot and I don't notice it's there. Um, just being aware of where the light sources are making the model face away from that. Well, even in post, if it's an easy post job and you've got an excellent shot it's gonna be hassle, just edit out after you're working with your team. Do you pay them out of your pocket since it's not just a good good question when I'm testing, when a new person like you shouldn't be pain for model, unless you have no experience and you're paying for the models. Time to get better pictures in your portfolio. If you already have a good portfolio to show the agency, you should be working for mutual benefit. So you're both working for pictures on d agency will trust you with that from senior portfolio, too, on the same thing's going, and I'm gonna talk about more about submitting on the business day. But again, for submitting your pitches to magazines. You should have pain, see and there's a lot of magazines out there, like online magazines that we try and get around that with people. But if you submit your work to an online magazine or publication, they should accept free content around, you know, the publication doctor. Well, that was a really great question, because that's something I think make up and styling, and they should work on the same basis. But again, if you still build in, it might be paying a small fee for that. Yeah, all right, we should be ready to go. Okay, yeah, that's, beautiful. Just hold that for me. It's gonna so little bright for me right now, so I'm just gonna put the ice back down to four hundred. Just go back a little bit. I want to get you out of that light. Um, keep going. Keep up again. Maybe just over two here. I just really want to get you out that that's. Perfect. Just step over that way a little bit. Can you bring your hands to, like, pull out the code for me? Put your hands on your hips like that would be like if you stood to the side so I could see your way to slightly and then pull your arm out. See, seem a tiny changed towards me. A few more of these tony face put your arm up like this chin that's great okay my ticket you guys didn't take shots at a time just to take a couple of swells so cory huh don't be scan joining to change anything so just pop this into this this one you've got I put my eyes so don't do four hundred the rest of the setting will stay so what I want you to do is just get familiar with it okay to think about the composition if you're shooting a cover shot what you'd need if you're shooting more beauty what crop you mean I'm just not used to such a contrast that's fine on your land would you pop that back up to six forty? Yeah because she's made that just slightly or maybe just that because remember that photo shop could bring up contrast beautifully he shooting in role then that shouldn't be a problem that's great and you're looking just passed me just bringing um the handler across I can see a little bit more of that drawer yes perfect thinking I'm just a little bit back toward that beautiful that's even nice from here with that shot so any questions I could take a while setting up the next one? Definitely michael told photography from atlanta was wondering since you'd like to use natural soft lighting is it difficult for you to obtain texture from clothing in your shots? In the visit soft I used to have a problem with this but I find that more and more that editorial is an art directives and you know, fashion inches there looking for more of the concepts um we've told his like collar of us see ellen one and what like that's, that kind of style and the clothes kind of coming to play but it doesn't matter if it's not in detox is more of a lifestyle that way, maybe there is some liability involved there's always a liability involved was the agency handle that or is that something that's covered by your business and that's something that you should probably look at? I have public library ability in england right now and that it's just a really easy seeing one really cheap and they just cover me if anything goes wrong especially from shooting in lightning like I used to shooting abandoned locations um or a kind of locations like that way you know model for something just really helps so that's something you should definitely look into um I'm with hiscox so don't you get that here? I think you probably do without some really great one looking well, let's see uh just just was wondering how many looks you would do in the same setting like we did a few against these windows would you normally do that for an actual publication or test shoot depending on the location and if I was to shoot him for an editorial, I'd shoot quite a lot in the same environment because he want consistency you want consistency with like the light used with style and everything the same on the sea must be shoot on the sea must it's best to stick to the same place a swell picture out of say like the same setting the same outfit yeah, so typically on a fashion shoot we're in advertising we have around eight hundred thousand images because there's a lot of looks like eight to ten such like a hundred shots image basically so I choose one have every one of those I'll usually filter it down from eight hundred down toe like one hundred and then down to like eight ten which is always hard but you'll get to know how to be a good editor is she going what used to be just the one that you jumps out at you or is it more of a tackle position sometimes it's no one you love but it works in the set as well for philip shots that's why oh aye, we had like static shots that could be great there's a filling just because of the clothes or you need that important garment in there as well, so we're gonna shoot on the roof of that ground, so yeah we would love to hear, like kind of what you're thinking as you approach this set like you, you see the couch and what is your thought processes faras posing for the model and just kind of speaking as your shooting about, like, why you're directing her in a particular way? Okay, so the idea about having the sofa was just to give some kind of, um, some prop her head a lion to, like, have something different in the shots. So this kind of sofa, right, I asked karen to get our props stylist because it was kind of relevant to the the chute idea in the reference I had, I was referencing a beautiful campaign that had props and fun and charming and loads of girls just kind of lounging around, so so far is great to kind of get a model comfortable toe lounge, but it's mainly just because of the shoot team as well, so I'm just gonna go ahead and stop closing her as well, um, and see how we go from that. So remember the reference I showed you where the gold is kind of lounge and you probably take the hat off, alex needs you instead, thank you, alright, so what I want you to do is just maybe lean you're mom went to that in a minute it doesn't matter if it's a bit messy she's gonna be lying. Any questions before we go into this will take some more questions way have a question from mary from costa rica, who is a regular mary from costa rica, he says, how much freedom do you have when a chute has an art director paid by the client? Um, it depends whether your poured into the shoot because you're there for the job or they love your art direction. I'm sometimes directors want someone just to complete the job, um, depending on budget and sometimes they want you because they're they're absolutely love the theme you bring to the shoot so again depends on the client that you work with, but most of the time, if I'm doing a shoot where I'm bringing my art direction to the table, I have a lot of freedom. We didn't boundaries as well, because there are also one near the editor will also want, like a certain cover shot, and you just gotta remember, like a few rules as you shoot into trail, and yet particularly for model versus a wedding couple or children, so did you. Learned by looking at magazines and like, where do you take that kind of posing? Information. It's. A huge mixture of different things. It's about experience, looking at reference, being aware of what campaigns they're out being aware of. Current trends. Um, if there's, a sudden c'mon set posing is definitely affected by that, like, fifty seem, you don't want to go posting like a glam away. You wanted to be, like, beautiful and referencing the theme. You have a futuristic shoot, there's, no point having to go lying there in, like, you know, kind of away with, like her leg showing and, like, beautiful hands, you want, like, static pose is. So if you have a theme, I think that's what would really help you understand what a great from that you guys going? I don't mind this's. Why it's, good to have creative team now, so all these things, that will. Save you a lot of time later on, so, laura, while we're already definitely an is wondering what you do if you don't really like what the model is wearing or the style of this year, if it's commission, how can you be inspired if you're not a huge fan of it? So what do you do if you don't really like what the model is wearing, or the style of shoe? If it's commission, how can you be inspired if you're just not a big fan of it? If your commission do you do it because it's a paid job? Um, it's been a lot of shoots I've done and I've hated the silent it's. Definitely not my vision but that's, why that's? Why you do the personal work? That's? Why? You only show the majority of personal working tests? Because that's, your vision and your portfolio commission work. You'd do it for this client name on just to get paid job from it for the paycheck and bye. Alright, so I want you to lean back on that. Maybe have your hands kind of two raped around the bank. Yeah, I think it's a nice speech. You probably, like stand over there, yeah, that's, great with the legs to stuff the side because it's not glamorous, but just let them hang. Yeah, like that. And I see lounge into that side. It's great. When we see how this looks okay, just pull that coat back. I need thio. Um, where are my guys for this? So can I get you to move? So just a little bit over this way, so thiss feet flat isn't in the way of the shot. Yeah, that would be great if you could do that. Let's try. It is a fool like you just swing your legs back for me. Just that way a little bit. Yeah. Sorry. Send up for me, okay? Something again, but you want to be placed still like a woman back in the fifties. You don't want to be like a lounge, and you want to be more like you use it to kind of ought to back put your ons and and again remember the hands, how their position. Okay, great love to get a landscape one of you maybe just kind of leaning over a little bit more and you can start to see, um, as pictures come up, how I'm choosing different angles. I'm choosing like a quirky angle. Tio position the camera because sometimes compositions and more interesting that way. You don't want to have everything static, middle shot, experiment with angles, different things with the camera to I love that expression, it's. Great. Can you put one of your hands that with your pretty mouth again? More landscape. Once maybe. Just put your legs out a little bit more that way, or even like, sit on your front and do that over the chair. So if you scoot down that way a little bit, put your hands onto the chance to lie a little bit more in front of this. Great. Any questions from you guys along? But, um, so imagine there's a transition from shooting single picture, too. Like a siri's? Yeah. I mean, I imagine when you have more budget, you can do a bigger production and you have a serious of pictures. But should you always work two hours a series or what you're going for? I mean, what do you usually shoot? You shoot singles? Like, does she think we're conceptual idea? She'd stories conceptual. Okay, so that they lend themselves more towards single artistic final images and that's fine for single it's. Hard it. Did you find out a story? More time consuming fashion about clothes. It's a little bit quick and leaving. But when you are shooting fashion just to stand out from the crowd a little bit because there's a lot of people trying to make it it's good to have an idea whether that's the style of the she whether you shoot in a feminine way with crazy close on this is like more of myself right now or, you know, she glamorous and you shoot with big dresses and big sets. Well, um and it doesn't have to be like a story as in, like, you know, the dollars walking down the street and then she meets someone and she gets a nice weight doesn't have to be that it could just be a change of area and the story comes from the clothes and expression to its beautiful ok, so just put your legs on the sofa this time, but just drape your knees over the site here. So you really off to the side yet? So if you want to see the shoot, okay, I'm gonna do some holding about it and then just put this right tona draped over one shoulder. That's. Great. Just look straight to me I love what you do with your mouths open it a little bit more again just that hand with the rings on just to their face like wayne if you look at the screen the way that I'm shooting it is that you could chop this in the middle and you could have the credits of the silent on the righthand side so it's always good to be aware of that when you shoot it okay so I'm gonna get you to do some shots because you haven't done any yet um is it okay to whatever yeah you yeah you know we have all the right things so um just get to know I like exactly how he would shoot this like how would you approach this like a little bit that's still going on here extend your body so you seem a little bit taller justice okay any questions way do have a question um that was from b r coleman earlier you spoke about the gutter and the question is does the doesn't the art director of magazine have to have a layout of shoots to fit can you talk about how you would be cropping with the current shot if with current shoot if you knew that there would be a gutter in the middle okay so yeah for this kind of shoot if I don't sit on screen right now um but you would I'm taking it purposely after the sightseeing in her head and her body is here and her legs for through here, it's just the way it's a great composition, because if you crop that in the middle and you could put credits to the right hand side and you could have the model to this site so it's all about the content and in the credits on the other side again for front cover, leaving space at the top. Um, just be aware of when you shoot an editorial where tex could go on the pictures as well. And do you know exactly what those are gonna be given job knowing what it is when I'm shooting right? I've never had an editorial where someone said, this is our layout, they've always said, like the shoot I did recently for velvet magazine. They said to me after, okay, we'll put these in the layout now and tell you which ones were going to use, so they want more options so they can fit it in and see what works to call to speak. I found my manual focus, so just be aware of no everyone can deal with and you sit straight up now I'm gonna do a couple more close ups you can actually use the panel's actually I'm in the look out to get him myself, but I've heard that you can probably get informant cardio lately I just get some light makeshift stands because pretty expensive considering what they are really handy and you can use these in a home you can you anyway and how would you like me? You should have rent like a truck or something to transport these if you wanted to take them or I don't know if they'll be useful on location as much I think you would probably just control it in different ways on location and kind of see it goes from that it definitely more of a studio item. Laura, would you like? Tio talked about how he was doing here and just kind of like looking his pictures kind um it's fine to look at them on here and give feet that right? But I think so I think that's great maybe have him pause a little bit after he gets a good shot and talk about what you think. I give you some feedback on these so this's beautiful this's perfect with composition love the symmetry you've got going on his body so this for me is a perfect image taken two photo shops good campus it's, not too overexposed godel the detail there, this focus on the eyes. Um, I don't know if we conflict through a few of them. Yeah, get going, yeah, this one's beautiful. I love the way eve experimented with different hand movements, and that one see things like, especially this model. You get to know kind of what suits them. So, katherine, I love how she does, like, knew the down face with an open mouth or her profile, and those who has strong points on I look for that. When I'm casting models, what air their strong points and how can I enhance them on set this? Well, how did you find that it's? Great. Yeah. Have you shot with this kind of lighting scenario before? Um, no, not really. Okay.

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.