Fashion Photography 101

Lesson 19 of 39

Shoot: Natural Window Light, Leaves

 

Fashion Photography 101

Lesson 19 of 39

Shoot: Natural Window Light, Leaves

 

Lesson Info

Shoot: Natural Window Light, Leaves

All right, so what I'm gonna do for this setup I'm gonna switch my lens over to the fifty males because this doesn't give me enough distance I want more of a wider angle. I want the auction of the landscape when I shoot him, what are your thoughts than on your previous shot there? A zafar is like what you like. You know, ten covers all that stuff. Okay, so that these shots could we possibly go back a few on that? Yeah. That's great. Just one of these is fine. So what I liked about these is that it's just a good canvas for me to work home with me. I know it's over exposed a little bit on the side, but again, the way of processed marriages is I bring those white tones into more of a yellow bring that kind of vintage look to them. So I don't mind that because I've pulled out contracts back afterwards. Um for me when I shot these when I was going around sperry minton, I'm figuring out what looks best for the dress. So they said what looks best with the crown if you shot this is a full leng...

th. I think you kind of taken away from the focus and the light just works better for this, but again, I wouldn't have known that until I started experimenting around with and so we do have a number of people who are asking about using a high shutter speed and wondering if you do worry about grain if say, some of your images are gonna be blown up even the highest side yes, sorry, I e okay, I don't mind that five hundred eyes so you can deal with that, especially on these kind of cameras are the same for a lot of teach us a lot now they can handle things in low light in these conditions very well I always add green to my images afterwards I don't tend tio have ary like when I even have a soft image and I retouched it add a layer of grain so I don't mind that that does not bother me and so I have a question from earlier when you said you were shooting whatever it was six forty and that you wanted more light coming in from the back in you again just explain your thought process of these start with the aperture do you what do you do, teo? Get the suppose if I was to go in without my settings like that I would go in, I would have the model set up um I was going with the camera I saw it with for me looking at the situation right now and this is just me being familiar with my technique it's going it's figuring out okay thie kind of setting that would be useful with the I like shooting with an attitude to point days that would be my starting point that would be number one number two is I want the ice so high for the reasons of I want the light number one I like the grain and then the shutters the shutter speed is the only thing that I'm using tomita okay, so if you start with those two things when you're in this kind of environment in the same location and you can do that now when you work in the studio with a strobe artificial light um and it's inked the way that you do it then is that you have you have to be below two fifty on it should speed for the sink problem so then you have the choice of you know, the air so needs to be low so those two things you already know what they're going to be so the thing you meet with them is the aperture so it's kind of opposite thiss technical questions great I learnt them thank you, but uh looks like we're getting ready here. Yeah that's fantastic, right? And again I'm just gonna go in with those same settings to kind of see where I'm going from I have a thousand on my show to speed and f two point eight and I have a nice so five hundred for the same reasons. And it was just a good thing for me to start with. So I'm gonna stick my white balance now because of the changing light order, white balance and us because it's changing a lot and it's just easier for me to work with that and that the order actually handles it very well. Ok, so what I want from you, mariana, is just move your legs slightly to the side but sit and just lean back, keep your hands on your lap so it's all about like, your position like we're like an old porter that would be the way that you position the way the dress flows and all I want you to do is move your shoulders on your head. So every time I shoot, I just want you to give me one thing and then if it's not right, I'll tell you, okay, so again, I'm just gonna figure out exactly what I'm gonna do gonna take a few shots and then I'm gonna kind of see what's going on in camera, okay, it's looking great. So the first shot, when it comes up on screen, the first thing I'm seeing here is I need some more space. In the background to work with and I need to work with the composition part, this lens kept down, so I want this to be like a movie scene possible, and I'd love carrion feeder give you input on this bottom uh, right of the screen that there are bald spots over there. That's what I was talking about, I've seen exactly how lara frames the shot to see exactly what I'm missing. Another thing is, if I have a prop like this bird cage, um, I have to see if laura with laura, if she wants, um, our lovely model to use it as a proper if she wants to do a few within a few without so that's the kind of active conversation that I said should have so so you would be on set and then we'd be going back, you're afraid and they harass me nice, yeah, do you think I would love to use after? I've got a few shots with this just to give ourselves options and then we'll come back with that another thing would you like me to make it snow? We can add some more snow that would be great, yes, it back from from so you would do a three, two, one now let's do that, yeah, we could do a close up shot like that okay, well, that sounds good. I'm just gonna get the composition, right? But I'd love for you to step in and see perfect, so I just cleaned those bald spots and we'll keep going. Sure. So what's great is when we're shooting close at this design is when you're using props and when you lie on location, you gotta just be really careful about how to distract in the background. Like the thie heroes read the rest in fashion. It's a garment or jewelry focus always has to be on that. Okay, so in this shot, she sent a point when I'm focusing on the background of secondary and as that has that hero, are you taking into consideration not just where you're focusing, but other factors as well, like lighting a factor in terms of? Yeah, so things like the backlight and I'm being careful that it's overexposed, but just enough. But the detail is still there because it's a black garment, you don't want it to look blue, you don't want too much light on it, but also, if you give yourself something a good exposure, that may not look great on camera, but it's just an equally all around exposure that works. You can take that into photo shop later and you can enhance you can pull back, and this is the benefit of having raw files because you can do all that this afterward. That's why you're not gonna lose any detail. Okay, again, I'm just gonna test the lighting, all that you know, when we were exactly shooting. Okay, okay. So the light I should say it's gone a little bit more bright in the background right now. So what I'm doing is again, I'm just taken down my I saw just slightly because I can afford to have some of the background detail in there, seeing how that works grand great. And this is just ality rocks, I suppose. But when you are hiring a model and you decide to test her, do you are you concerned with getting information? Like, is she allergic to anything is like, you know what if she was allergic? Teo mashed potatoes, like in the snow? Do you have, like, a she thinking thank you twenty questions because you would think not, but this has happened to me a ton of time. There was actually a one time I used some great girls d and they didn't tell me it was based on that the american indian game and reference and visual references, horses so I sent them the reference, and they're, like, approved in the mike? Yeah, cool, you know, that's fine. So the three models got there and one model to scott, it really bugged out, like her eyes were like, streaming really red nose and she's, like I'm allergic to horses, and he just like, why did the agency not know that? Like, this is something that she should have been told, like the models should get that kind of communicate. So sometimes there's a communication error between that kind of thing, this good to check? I think they appreciate that specially for light things, like food as well. That might be on set to any questions from the audience. Yeah, good, yeah. Good. Ok. And then head back. Yeah. All right, so we're gonna start shooting officially now screen it's gonna cross in some cropping to the bottom of your dress up to here and it's good to let the models nowhere you're crapping in so they know how to pose as well. So I'm just giving her instruction, but I'm shooting why'd she can kind of tell from the camera. But for me to go in and say, no, this is working, this isn't that's really good for her, tio straight from coming into the bottom of the dress it's more like a portrait so just relax your hands with me just like that and head back, okay it's gonna pull my eyes so up again because again the lights changed. So you always have to be aware of that when you shoot it just always keep adjusting the light check in and it's great having a screening. Well, that's, what you keep check in this is what's great about teddy student if you tether and you have, like, a shoot with a client or an art director and someone from an editorial it's great to have tethered because sometimes that they just want to look at it and go ok that's not working or you know, the dress looks good there with that kind of thing. Tio come in a little bit closer to you doing great so far it looks beautiful close your mouth slightly green and then I'm gonna come in a culture options. At this point, I'd be like halfway through what I'm doing, I'm just trying to figure out what I want from this. I'm giving myself options. I'm crop in, I'm going in quite far away. I'm giving myself a crop from here crap down to the hip, a full length, a landscape, the landscape reason because if this was for an editorial I'd want to size and I'd want to factor in the fat where the magazine would cut in the middle where the bind is in the gutter so I would take the composition off just slightly as well the same thing just aren't you back just a little bit yet can I get can I get to sit back on the chair a little bit here know what I want to get with that stuff on the clothe? I'm just taking a back there just till I meet the composition because there's a little bit of space between the ladders in her I don't want there to be a little more no it's going great again just giving my face a little bit more space for options to try not to do that more of just relaxed elbows and hands way love to change up that maybe we can have the ladder no way can use the ladder now change way could do two together yeah let's try that yeah, okay, that sounds great. So I'm happy with the shots of what so far of her alone but I want to change it up a bit so I'm just gonna bring in another model just kind of experiment with composition that girl she well she's getting changed a ministry carline so could I get uh is it fine for the background if I get her up here like leaning onto the letter? Um, yeah, ok, so if you want to do that and then you could just step up for me and unable to, um I noticed that you haven't had the model move around too much. Is that because you just kind of knew going into it exactly what pose you wanted her in a kind of I just she just kind of fit in the theme, so I saw her dress I don't like okay, let's try one then it's all about trying I'm never like step set on what I want to do. I just want to experiment so whenever I do my editorials, I just want experiment with an idea I want experiment with west she is figure out cause I'm not going to know exactly where we are just by the latter kind of I would love if we could get her ten lean just see this thiss long one, I'd love her to kind of use that at the talk to kind of put her arm on and let the rest traitor and I don't mind that there's not so many leaves yeah, and then just use a lot of would be careful with them to force just kind of way could mean that just slightly that way yet that's it and just put this show on the back was the right one yeah that's great slightly on this side it would be great to try and clip that there if we can that's down if you could be undressed watch that would be fantastic so again I'm trying to find poses that will complement the dress the dress is the hero again I want to figure out a way of getting that beautiful trail on the set and just complement everything that's going around for me for the set up I was to shoot this is an editorial I try like four, five different poses hey, I go around, I'm really quick it shooting you jump just like fast here have done that cover that cover that maybe I'll get a beauty one of her that one here, maybe I'd get to model was involved, so I'll be shooting a lot of different things to figure out later on how I'm gonna put them together and how best clothes look, as well as any other question from the audience, are you constantly communicating that to your team as your sort of as your vision changes? Or yes, you're always good to know that it's good for them to know that, but most of the time they expect things to change last minutes well, they know that things don't happen on a set schedule like for this, like karen had he might have, you know that which was green. We got three shots for the eye. Then I see a different vision and then she's like, okay, let's, move over. That's, it's just good to keep people in the loop of way you see things and how they're coming together as well one of them trying to sort out now the draft. So basically, I wanted to be close to the ladder. So it's got that kind of thing coming out at the side and every beautiful for the composition and to show the structure of the drafts. But we're having some clipping issues. So it's, always good to have, you know, little pagans of something on set kind of position. Um, that there, there we go. Try not to pull it too much when you close, but just kind of trying to put you on around and see arming front, maybe the other way. So in front of the ladder that set maybe just pull it in like him. Yeah. That's it ok like that? That's. Great. You know what I want you to do? A neat shot is just about moving the arm because we're still gonna get that tow work. Yeah, that's it so even just putting your elbow on there. Yeah. That's. Great. Change a little bit. Head to the side. Okay. I'm just gonna shoot a few more alone. Beautiful. Can you just twist your body to one side a little bit more? That's it. But you should put your arm back on this on this left arm just a little bit or queer. Just maybe. Just put it back the left one year and I want you to look a little bit taller. Yeah, so in order to make models but we're told because you can see how flat the body looks right now. Just twist in the hip towards side a little bit just to define the side of the body. Okay? Like that? That's, maybe even just kind of bringing both. Yeah, bring both hands for me here, but not so not so grasped. Just more relax. Yeah. That's great lack behind again, just with the delicate hand yet, you know, just a little bit. Yeah, great. Okay, so I'd love to get my things now, just for a few shots, and then I think I'd like yeah, she could say that and I'd love to get a c when I'm shooting two models. But if I don't know straightaway how it's gonna let you never annoy that until the day, good to have them go on set, visualize how they look together before you go in and shoot it. So I'm gonna kind of position them in different ways before I thought she didn't officially. All right, so okay, there's. A lot of separation right now. So what I would like I would love to get one of you two together. So if you come in here for me, you were just to hear that set and you just interact with that. Yeah, this is all about the interaction with the lighter that's gonna tie you together. So bring your shoulder back that way just slightly that's great with the hand just looking over to here and then bring your body in a little bit more this way. Yeah, but set and lean into their as well. Okay, okay. I just need thio carrying around. Just need teo get to meet their chatter. Can I get you to move the bench to still it'll be over this way. Yeah. Michael, just tine it's slightly. Yeah, this great. Yulia coming a bit closer. Yes. Relax. I'm just a bit more like that. Yep, you if you go straight onto me because that dress is very strange. But yet so just if you just stand there, you great you were, if you look over to the actually if you come right behind you if you come right behind mariana you can squeeze in that and then marianna just bring his shoulder forward because you told him okay, so if you go back behind a little bit huge sea might want to put your foot down here that I just want to close this because the camera is completely blocked it's great okay, you're if you could use the back a ladder to put your behind on maybe can you lean it on there with that work or or even holding this bit above you see that bit there back yeah, we're even onto your head ok get close if we go together I swear that if you come can you put your foot behind to dress? I just want you to come close together and then just coming behind that yeah that's great and if you mean showed it in here to clean your head in that's beautiful just like so again I'm just experimenting with the idea I'm going and I'm figuring out what works. I found that by shooting this I love the way the dress falls but not so much with the way this quite to the bottom so I only knew that from shooting, so I'm gonna go in and shoot some beautiful closeups of this I think that would work better for what I do okay head in together it's mary honest, put your chin down a little bit yet still leaning like yeah, and you write on just pull it back a little bit. Yeah, because right now, it's like, drop it and then have been okay, so you wear if you look over towards me and just put your facing that way a little bit and just put your hand down your left one yes, maybe onto her shoulder. Bring yet great me, that connection between you guys said you just come in with your head, you and that's it and face it more towards me and then cheek in just a few more guys china to do this just more relaxed with behinds set yet, yeah, I think this is looking good so far. I mean, this it looks kind of washed out on screen, but again it's a with the clothes, the color it's good campus for me to work on later in the shop with tones, I would use a process that it's like a white kind of washed out kind of color. Um and I feel like I've got a good variety of different shots as well so that I can later go in and choose exactly what I want from it, so yeah, I think we're good with this said you got something good, thank you

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.