Shoot: Natural Light (Two Models)


Fashion Photography 101


Lesson Info

Shoot: Natural Light (Two Models)

So we're gonna be shooting with natural light, which is one of my favorite shouldn't environments. So what we've got here is we've got beautiful natural light streaming in here, and this is kind of like a studio choose for my own shoots to the flats of facing with the white board out. This allows us to let light in to the shoot, um, for my preference, whenever I'm shooting something like this, I love backlighting coming in through the camera, so in order to do that, my camera settings right now, a four hundred s o because I want the light to come through, I have a thousand showed a speed, and I have an aperture of two point eight to get that kind of silent go for with my work, you know, that kind of focus on the eyes that kind of you blowing out background, so I don't really want the window in detail, so I'm just gonna go ahead and and should use to shoot, um, I love the model cat again, and then we've got shelby if she's ready well and again, if you've got any questions, I'm going and...

more than happy to answer as well, so I guess what I'm trying to look for here interaction between the t model, so you kind of watched the way I direct and I'll be coming back as well. If you have any questions on direction, just let me know. So what I want from you guys is to maybe, like, start moving and maybe put in hand around each other like that. So shall be if you put your home around that's, waste, that's, great that's, beautiful with that, and then lean in your face to assure that it's beautiful. Okay, let me see how that looks on, both of you. Just open your lips just slightly straight that way. Yeah, ok, that's, beautiful with colors, that's. Great. I don't mind right now. What you're doing is great, but I'll keep suggesting is good, but just if you keep your eyes to me and I'm gonna tell you to move off in a little while, okay? Hey, shelby's, he looks that way. Yeah, it's, beautiful with the hand. So the look is kind of romantic it's a little bit different from last time, so I'd love to get that kind of intimacy and move the hand closeness, that kind of thing, almost like your sisters. That would be great. It's beautiful. You guys are great and I'm just going in again and she did some portrait's I'm going into maybe shooting some landscaping and covering myself give myself the option just coming quite close to you guys. You both look off to this way for me. Beautiful again. Just coming down to the leg here. So just be aware if cat if you just put you your leg out the backseat pulls the dress on its great, even though on the screen you see how those kind of highlights coming in at the back really enhance so it's on photo shop. I would tend those whites to kind of a retro color, and this is the kind of look I would do outside as well. So if I was there with the shun coming in from the background, that would be great, the same kind of situation as well. You can even replicate this by putting a light at the back of someone's head and having an open bowl coming in as well, since various different ways of kind of achieving it. And often, like, if you don't have natural light on the day, you can achieve it with artificial well, is there any questions so far or your focus point? I don't think he's on the face. I've got an aperture of two point eight it's, a little bit tricky stuff, got manual right, and then I'm focusing in on the eyes and kind of move in across is shooting this, okay, so you're good right now, shelby if you just put your hip into that set and then you pull your buddy out this way. So both of you, a little bit more straight on. Yeah, that's. Great, you're doing great so far. Looks good. Yeah, course, I left that sleeve. Maybe if you could come in, possibly put your hand here, that's. Just what that detail on the sleeve and put your profile into her. That's it. And then if you look more straight onto me yeah. That's. Such contrast in light. I mean, I know it wasn't like this a few minutes ago, but the sun just came out to be aware of that. Yeah, if you just keep coming towards me, vega to be aware of that changing light better you rightly. This way. Good. Hey, just pull your left leg. Yep. That's, good can have you both looking towards me. And again. It's. Beautiful. So far, you're doing great. Okay, so can I have you, like shoulder to shoulder this time again? Very symmetrical. What we did over in the studio, so maybe just link hands. So I always want to see an interaction or re link between you because that's what's gonna tie it together, ok, and just come out of the light a little bit there. That's. Great. Yeah, arms completely down. Just your hand shall be just relaxing. Sit down, okay? And I'd love to get another close up shots. Maybe if you come back in to the site, any bring your so bring your body round towards me, see flat towards me, and just can't you just see that that's. Great. I love that, yeah, and that's great with hands like that that's. Good. If I love that when you look down there, I'm just also being aware of, like the position of the things in the background, like putting their head between the window panes so it's not to distract. And even though I probably blow that out afterward tonight, could we see what it looks like? The back of your love, I touch this poses with two people that you just try to stay away from. I think joking about questions earlier separation, like if there was a girl here and go hand there's a big gap. But what about one's? Close together, other any texas closer together than that? It looks like there might be a case. Yeah, like that's, always something that, you know, you think their faces are too close together, then that could always look a bit weird. I make the models and comfortable as well, because I'm like, oh, I don't know if I'm supposed to be in my head, that kind of thing, but usually like it's just about taking charts and seen what's with them because we'll go in a different when you shoot them. Um, they kind of want to know what looks good for them and what doesn't as well. Okay, sit back to where you are. Do you do a complete side shot for me? Can't straight to the side, let's it, and then you do straight to me so front of your body and I'm around. Yeah, I'm around like that and then straight to me. Yep, that's great and can't just live to china blue bit. Okay, and if you just leave your heading down a little bit, yeah, come away from that light a little bit, maybe took you further into here. E dance, and then could I get you to switch round? See, your back is on her chest here. Yeah, that's, it that's great with the hand. Yep, perfect. Love that same expression. Just open your mouth a little bit and then tell a story with the eyes that maybe just squint them just slightly. So if I was shooting, this is a cover. You girls can stay like that. In a second. I was sharing this for a cover, because I know one of you mention this earlier, I would shoot it, so there was some space. So this like this, much of a gap above her head, so that text could possibly fit there. If you come in together again, that helps with the screen. Okay, so, again, same thing coming with the arm over the tongue. It's beautiful. When you do a cover shot now, so I need you to be very poised. So just put this shoulder up doing this. So there's no arched back yet. That's it. Okay, perfect. Yeah. Loathe the light again for me. Keep going way. Okay, the same thing. Actually, that was beautiful. If you just put your face up to here. Yeah, and face that's it. Yeah, really nice. Great hold that can see on the screen and believe in a little bit of a space at the top if taxes possibly to go there. So whenever I shoot an editorial, I'm always shooting cover shoot options because you never know. I've got two covers from doing that without a guarantee. I'm gonna get one and wear a full body shot with not for cover. Yeah, you'll see that most covers it's just like portrait because it's easier like visually for them to put tacks on. So it's, always good to get a full length for the editorial, but stay portrait for the shot. I'm gonna shoot him full length just to give us the option to so just be aware of the way your feet are maybe replicate the feet so both do the same thing. So this left leg right leg is going back to slightly that's it, yeah, all the time, just in the light a little bit that can you come a little bit over coming from? Actually, if you were back here, I think you'd get rid of that. Yeah, but then we wouldn't have the lights, he just gonna come to the window thiss way, keep going a little bit more. Yeah, there is. Good. Yeah. It's a beautiful shot. It's gonna get a beauty from that. Take a slight step that way. So I'm not getting too much of this white and okay, there's looking great so far. I just want to change it up a little bit with poses. How about we try something with the floor here? So if you wanna sit down kind of with you legs up in your hands down, so if you just sit on the floor for me, justice, you are let's, say, and then kind of putting your heads on each other's shoulders. Well, that's screen? Yeah, so that I thought I'm gonna cross into here, so don't worry about the legs being apart. And then if you put your head on to shelby shoulder yeah that's, great love and again interaction that was beautiful with your hand just like this. So very delicate poses check the light on that. Come down a little bit, okay? And I'm just giving myself the option again. So whenever I do a shoot, I'm always experimenting with things on the floor full length, faraway shot walking shot that we did in the last shoot as well. Anything with movement. Maybe I'll grab a fan like something just out of interest to the shot. Okay, so I'm just gonna turn up the air so slightly to six hundred to let the I s o n of the delight in a little bit more it's, beautiful guy sitting with my elbows look off to here for me, or do you have a goodman like on set on location? Lincoln park? Yeah, just like that way limited with equipment on location, everyone's always surprised like pressure camera equipment and like my bangs. And again I'm shooting with fifty mil because it gives me that nice range of prime lands it's two point eight it gives me all the options I need for this shoot there's a really great okay can you just put your head towards me can yeah conover too that way yeah could you put that really nice details again looking at the details you've got this nice detail this after this was for an editorial would be nice to get the credit into that sea you'd want to just look to the side and then surely you could look that way to both look over here for me yeah and again bring that closer because it's okay to be closed cheek to cheek when you both looking off in a different direction taking another cover shot so if you just put your your heads together for a little bit more okay so you can kind of see like all the different kind of shots and get in the way I'm croft hannah's well I'm crapping it like that and that's okay? It doesn't mean you know you need to have the kind of detail of the clothes in um if this was an editorial again you've got a hint of shoe on this shot here so that would be great for that um you've got the colors of the clothes and good contrast again with the processing of this I intentionally wanted have the light coming behind because I will tint that afterwards, white and backlight is a perfect collector at that retro kind of tin, and this is something I'm going to go across in day three. Well, so what I would like to david's for you guys to take it in turns to take a few shots to kind of get familiar with the setup. So my camera settings, if you would like to switch over, um, every thousand on the should've speed of two point eight on the aperture and six forty on the ice and the reason again the ice so highs, because I want the light to come through, and I've kind of glow to the images well, okay, I'm just gonna ask. Is there any questions from the audience? There are always questions, questions seem yuko is wondering. So just to understand you're setting choices why'd you shoot at one one thousandth of a second and s o four hundred instead of bringing it down first and matching your shutter speed, since you have such a high speed that's just the way that I've always done it like my shutter speed is always high because sometimes I have movement on I want to be a quick to snap that, so if I have goes walking together I just want that kind of action. I love grain on my images to in my process, and I always add grain to the images just because when you re touched something in the ad texture and detail back in, and I love the feel that it gives tio. When do you prop your photos? Do you stay away from cropping mid limbs, fingers, shoes, elbows, knees? What are kind of your general, probably up shoes when someone's kneeling and I will cross the top of the head, but I wouldn't crop it if it was like, you know, a girl standing there full length and then cropped his shoes off and leave some god like when it's, like a girl sitting like this, you can afford to just crop a bit of a head crossed. A bit of the shoe thinkers are hard because it was like a ll could. When you cross fingers, I'd like to see a full hand whenever I'm shooting someone. But again, the best way is just to experiment and I kind of know the way a crop just from my years of looking editorials and shooting as well. Cool. Thank you. Ok. See, u good way. Difficulty there for a second. What? I so, uh, six forty? Yeah. Okay. So just change it up and everything. If you change it up and then we can guide you from that as well as longest system called closeness. And is a link between you, then that's. Great. Shelby, can you look out this way for me? I'm sorry. Shelby and, uh, and katherine can experiment with the landscape. Like think about whether god would go in the middle of the page if you wouldn't shoot the landscape. I'm sorry. The gunners worked. The other is the middle. You know where this two pages and it's like the binding of the magazine. So that's always an important thing. Especially when you put it in a portfolio or in a magazine. Awesome. Catherine, just look off to the side for me. And then shelby great about me. And then from the shots I see on screen just capital of the crop on the top like cast. Very may look great over into shelby's eyes. Men shall be looked right at me. Powerful gaze, it's great it's a beautiful have a great rifle. Catherine, you look right at me. Great shall be great and shall be looked right at me. And then catherine, can you just kind of look sort of right past her and they're any questions while that's going on one questions? One question is, do you usually have music on your set? I do. This is really important whenever I'm should. I always have music and whether it's mainly it's the models choice because I feel it's important for them to be comfortable in front of the camera sometimes it's like that with that, you take them and just reminding you feel the beat from and poses well, especially when it's a lot of from leave men on set it's always good to have something cool. Surprisingly, they're the ones that have to mean it, but I suppose that the ones I have to tell you they want it well, you just put your heads in words kind of like it, yeah, that's, that's grain again, just be very delicate with the hands don't graham um, and doesn't think about hands that you don't want to see this bit of the hand. You want to see the group so delicate you don't want to see this kind of thing because this is horrible to retouch necklines in this and like the way you're doing great, okay, so when you're ready, we'll switch over. Thank god. You're all right. You want to go next? May I know the last just going in. Yes, the one. What you said in so I okay? Yeah, you got it. Okay, girls, let's, change it back. So any questions from audience or you guys or wave questions the questions? Definitely. Nadav e is wondering, lara, the white walls for your left is blocking much of the light. What reason is there for their set ready for this fight? Wears it there that's to black out their main sunlight because I hate harsh light. Harsh light is a really hard to control in this environment. We're going for a soft look, especially with the opportunity using the light we're using putting up that I so that the light seep through. We don't want harsh like to come in and ruin that kind of theme we're going for. So these are the facts. A great not only feel like I didn't like what they're like. Blocking out light is falling sectioning off areas to shoot in beautiful thank you. Okay, you ready? So let's change it up a little bit. Um how about shelby? You put your arm around your shoulder? Yeah like that that's nice and that's great with behind again very delicate with fingers. Yeah, uh, shannon hamilton category said that uh in real life shooting scenarios in the fashion industry when is it best or most appropriate to tether and are there some situations when you definitely would not that's a really great question I would say when you tethering for shoot it's like advertising campaigns are editorials where there's an art director a client on the shoot that wants to approve shoots to make sure you've got the right shot each section so um when I'm doing things like editorials or personal work, I don't tether but that's just because I've got a shoot quickly and I don't have the need to excite review the photos later on that screw oh, good. Okay already? Yeah and just try and give some direction from what you see it's falling don't be scared give them okay direction from that they really appreciate it models will love direction and again with your crop even consider cropping the top from katherine's head off coming in to see where the seam of the skirt is on your right side yes think about that kind of crop and how it could be used for beauty if you crop in say like tio here this is a good beauty angle remembering to keep the middle and taken the girls off side slightly yeah that's beautiful instantly shelby just put you on your chin up say she can see your profile a little bit and they can't just look down towards this side yeah great do you do like to get up high like do you get on ladders and should do that she's my white heels, huh? E heels that recent models are always I want them in my eye level for beauty right when I'm doing full length and always facing down to give them height okay when they're on the floor in tonight depends on the effective if you're going for like a soft approach, it might be best to shoot down on them to make you feel smaller again if you want to look strong it's good to see you up there like that kind of strong okay, authoritative well, that makes sense. How are you feeling about it? I'm good I'm not used to directing yeah and you don't find this is a great do you find models that are more experience just naturally just yeah, nice models yeah, but there's also models that love direction to ok um that's look at each other e u chin on the top of a head and you come down. Sorry about them. Okay, so you put your chin on her head like that. Like she's, your protective kind of thing. That's. Beautiful. Yeah. And then shall we just put your eyes? Yeah, and look over here. Great. Anything like this, maybe you could grow up to cure your behind if you do that again with the hand that's. Like, really flat on her back just to remove it in relaxing. Okay, you want relaxed and always like this one is too abstract. If you just pull it like you want to be like this just down on his shoulder to hear that's it. And then you put your chin on let's. Maybe just put you to your cheek here and like, yeah, uh, even more down, beautiful and shall be if you just bring your head up a little bit. Yeah, that's it even more that we go. And then I used to the cameras. Well, that's yeah, okay, do you have to wait? Yes, yes, I'm waiting.

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!