Fashion Photography 101

Lesson 6 of 39

Shoot: Vintage (One Light, One Model)

 

Fashion Photography 101

Lesson 6 of 39

Shoot: Vintage (One Light, One Model)

 

Lesson Info

Shoot: Vintage (One Light, One Model)

We're now gonna shoot um one model one light on set okay, we're just gonna get you set up the camera camera camera uh, yes. What I'm approaching now is you know what? We went over in the presentation. Um staying with you guys if you want to come in a bit closer is well, is this is pretty much my set up for most of my shoes. I've got one might with self bugs very low power it's a three point o on the power pack right now I've got a seamless and my choice for seeing with his usually gray because you can pull a model off that and light it and have a dark background and you could put a little closer to it and have a light of background so it's really first to tell us so if you've got a home studio and you're looking for choice of roll, this is an excellent qualities particularly oh, and it's the color of this is studio grey if you did want to know that um so when I get a model on set, the first thing you do is just, you know, checking if africans coming together my hair and makeup around s...

et making sure that the final touches putting in place and this is what I said in the seminar have them, you know, all hands on making sure figgins coming together because that's going to save you time and retouching later as well way have some great props today actually that what you're gonna love fabulous glasses at milk shake with that kind of stuff yeah I thought that was really fascinating hearing about the ingredients that are used in the shape itself uh and just so that it's all about what it looks like consistency what quid yeah it's fabulous so I actually with you guys you ever done a sigh would shoot before this way right? This kind of concept to raise this kind of movie not my own but I've worked yeah system helped out with whatever you taking their brain organized everything myself so what we're gonna do first is I'm gonna shoot for this set and we're gonna bring two models in too deep to model direction and then I'm gonna get you guys to shoot a little bit of well you're kind of lining on do you want to while they're finishing up you want to explain what the general concept of the shoot is yeah of course so unfortunately I can't give you the mood boards because we couldn't show you the images um but I sent a mood board to these guys a month ago on a reference campaigns, product campaigns all those kind of brands that were relevant to the shoot so anything that had that kind of fifties by fun diner kind of shoot, this is what we're going for so and this is why I cast the model shelby and cat because they have that kind of look that I would go for, you know, you have the far apart eyes, they have something going on in the face like they have a story and I'm also they had great portfolios that would work for this as well, they are newer girls, so it's going to be about me, you know, putting the concept across to them, how I'm going to close them and at first, whenever I'm shooting there's a lot of experimentation when I'm fast approaching a shoot there's always a bit of time where I'm trying to figure out the lighting it first and that's normal that's ok on second clients expect that as well. Yeah, is that how you shoot e? I think it's because of the have a tweaked yeah, okay. So many guys. Good. Okay, so what I'm gonna do is just because it's better for probably you to see on screen. You gonna shoot a few, tell you my settings and then I'm gonna go from there, okay? So shall be what we're going for is quite a fun team, so we want you like soup in the store halfway a little bit of a cheeky kind of faith, you know? Not too much of a smile because it is gonna be like fashion editorial said don't want come actually I don't want catalog I want a fun theme going on so if you just put the milk shake up it's gonna test the lies you're good faster now okay, just move back a little bit for me over to the side that's um that's great back a little bit more for me I'm just gonna move around the first bit again a lot of experimentation about how I'm going with things okay, so if you could just move back that's great. I'm using the fifty mil lens because of the facility I want you the distance between the model and it's great for doing some portrait's to face a little bit towards me here great a little bit more into me yet so I have my settings right now at one hundred on the shuttle speed at six point three and a two hundred eyes so with the white balance at flash and this just gives me a good starting point to work again this is on a low setting a three point I whenever I'm shooting these kind of things it's me figuring out the light and how everything's coming together it's more about the creative thing for me and the technical thing comes afterwards so it's good to kind of think that way an experiment to get what you want okay that's looking great. All right, so if you put it out to face again it's gonna get close up shot to hear you mainly is here so just keep your chin up to slightly that's great and just some more emotion in the eyes that may be a bit of surprise would be great. Can you maybe just turning towards the side slightly showed it in. Yeah, fantastic. Yeah. That's really great love that I just taught you about. Just slightly pulled this out that's it and then just like that. So I've just adjusted the light one twenty fifth because it was a little bit right for me but this is starting to look good from I know the back of my camera from what I can see it's gonna show you guys this is a good starting point. You've got the grady and in the background and if you could probably show that on the screen, I think it's all right, now you can see all the tenants here got that great background that's great, because that gives me the opportunity to go in and take that to a dark. I think if I won well, bring out the lightness in it as well, so this is why I love using that gray background so you can poppy see yourself on that so that she amira so, again, just pull your hip out like that to the sci fi given some distance between the clothes and another thing I'm always looking for the way the clothes look, what I'm going to get in because this has been to stuff it doesn't matter about the designer, but if you washington editori, we need to see certain labels as well. So I'm just kind of experimenting with the way the closer looking in this, but if I wash shooting something for a designing, I'd want to use the necklace to show or the bracelet or the way that close kind of fit around the waist as well. That's great that's. Great. When? Just lift your head up to the side like that? Yep. Okay, maybe after three seasons. Okay, one two is looking great. Ok? And it's straight on to me. Okay, again, if you just go to the side because I think that was really strong here to stick your head out that way like that with a straw. Yeah. That's really nice. I'm just going to try it from this side as well, because I just want to talk about this light here. So the soft fucks coming from the side it's a really easy light set up and it's just really simple, but I just want to enhance what I got here. I don't want it overkill with biden. Um, I'm going to show you guys a little way to bring in something to the background to enhance it, but for now, I'm just going to shoot with this. So I show you the model direction house simple it could be so the reason we have it just slightly off the side is because I want the light for down onto the face create a little bit of shadow in the background. Well, I don't want it completely flat on her because it's just gonna be a blow out of line, so this just gives it some depth to the picture. And again, this is on a very low setting of three, and then I'm complimenting this with it. The settings I mentioned earlier. Are there any questions? I'm going? Yeah, like, go to apertura that you like to use for your signature images or, uh, I mean, when are you sending the studio of c should be hospitable to fifty cause of the sink, so I always haven't aperture of around six point three six um, and that enables me to get the detail. But it's also, you know, still kind of a wide enough aperture that you could still get you nurse a blowout in the background a swell so when I'm outside on location I'm going for light lower aptitudes of like two two point eight in the studio is when you're outside you said they usually come in the side with the light do you do more facing the light outside within when it's more natural doing what it back sliding outside um or I'll do something in a diffuse area, so I used like basically outside of what the clouds is my natural self blocker I love shooting diffuse light I love shooting where the backlight coming in and bringing the detail back in the shop so there's only two kind of special to us and then do you use back of camera to get an idea of exposure? Do you ever use a light meter? I don't use light meters just because it's like it's I've learnt that way I've liked to just go ok, this is what I know and they go from that I have a good starting point to stop from like outside my eyes, so is around four hundred to eight hundred because I like grain and I like light to come in my ap itches always loan my should speed is high, but I'm in the studio my eye so is always alone after just hi. Um, I should speak this way, so it kind of various depending on, like, what I'm doing and everything. But for this kind of particular environment. This is kind of what works for this, and then it gives a good kind of canvas to work on later in the shop. It gives that softness to the skin. You've got the good radiant with background going on, there's, just something that you can enhance later. Just gonna give you something to work on. Keep them coming for, like, posing when you're reacting, the models does that something that you include on your inspiration board your mood boards. Are you referencing poses that may have been in, you know, like a fifties sal pose? Are you trying to bring in more modern poses with, like, just drug supposed to it's a mixed because you can have old new clothing and it kind of mixes it quite well when I'm doing my boards again, it depends on the client. So for this kind of shoot, I would have put, like, you know, together a group of poses and a group of things that come together. On a shoot I did earlier this week I had three paper mood boards that were just like the poses I wanted so when we could go through the shoot with make a case that we're doing this one here this close here we're not copying it we're not imitating it we're just it's something you know, for the models to look at as well so if I did have a mood board for this year it would be something fun like a dying a shoot we've got some props a bit later on they're like colored new doors the model's gonna like playfully feed each other so props are really great on set because props enable the model to interact um if you stick a pair of glasses on a model some crazy glasses they're gonna be like a different person it's like adding a bit personality as well so keep the questions coming on time if there any questions herodian two way just get cem cem basic like logistics of how you're shooting where you focus uh metering that's okay, so I'm focusing right now in the eyes whenever I shoot I'm always trying to focus on the point of pictures whether that's outside on natural light and focus it in the eyes on the app eter I manually focus just because that's something I've always done, I don't trust order, focus and that's, probably down to having four confines, is back in the day, but I love manual focus because it gives me that selection about where I want to go when I am approaching this kind of shoot as well, I'm always moving around, I'm always figuring out where I want to go. I'm not just staying in one place and I always get the model to try anything's as well, because that's the best way of approaching this but the best things come from experimentation and the planning came with style and in the concept and everything else as well. Okay, I'm gonna shoot a couple more you there again, could you just go from the side from yeah, so this lighting is such the great so light down to here, if you wanted a full length, just pop the power of a little bit, pull the light back and it's gonna be great for fooling. Ok? And the same thing like that that's great and just somewhere expression in the eyes open your mouth just slightly whenever I posed models like this. One thing that models do sometimes they don't know, like you know how that their expression is like and it's always good to have, you know, a gap between the mouth so it doesn't look too forced. And, you know, the first shot of a shoot is always difficult because it's, when the model is, you know, not that aware of what you want or how it's gonna go. So as long as you like giving feedback, we're gonna feel comfortable and it's great, that she can see the screen as well. So you can see what's going on. Okay, that's. Fantastic. That would be a great portrayed shot like that. Yes, if you just pull your arm in clothes, I'm just gonna crop into here, okay, just head back. That's. Great, yeah, because of the lights coming in, that's, fulling beautifully on the face of fear, just eyes to me, this way. You can just take one step this way that's great. Thank you it's looking beautiful can you just late aren't you back just slightly more pull this arm in here pull your head back but so you faces like doubt that's great I love that yeah okay this is looking great so far to see the back of their different really fox and so with these yeah would you yeah so the lighting I'm using here is a little bit blown out and the reason for that is when I process thes images when I processed them I'm gonna add that retro tends to the white signal look off white the blacks are gonna look off black to a blue or red so it's gonna really enhance the feel if I had this really detailed we've just perfect isn't gonna have that much effect because I'm replicating the old theme and old photography any questions just so when you're shooting your are you changing your settings? Teo fit the editing style that you're going to do later yeah I already have that planned definitely shooting outside something soft to have like the white after high so if I win it grain on the same hair like little bit blown out I mean on there it's a little bit more but it's gonna show you for my camera how it's coming together so you can kind of see the way that it could come out like with this great background pulling all the white slightly off white and stuff it's just a great canvas to work on for that kind of tin that I would add later we'd love to try and get maybe a few full length of you that I love what you're doing right now actually that's great so we just leading out to the side just pull your hip into the side put your body forward rather than like that like that forward and then with the drink as well ok, so I'm shooting full length I want to get some distance I don't want to focus up towards the model just to check up on me and just pull your body up like imagine a piece of string here and just lift okay it's great and was important when I'm shooting this kind of story is if this was an editorial I'd want to go in and shoot some close ups I'd want to go and shoot some cover options I'd want to go in and shoot some full length and I'd also want to go in and shoot some landscapes so that when an editor or if I was your image from it would look at these they could lay them out and see how that would work in the magazine okay are there any questions coming in always question there are always questions and we'll jump in a little bit later, okay I just want to check on the time over there. Is she good to go in, like, ten minutes? Okay, all right, let's, shoot some awful length again, and I want a little bit more action. So maybe put you foot out, and it may be just click your head to the side. Fantastic. Just put the drink more of two mountain. Yeah, it's, great and I could you put your head to the side yet it's beautiful just because of the light it's. Great when it just felt too stoned to face that. And could you stand to the side like you would do in earlier, one foot in front of the other back yet, and you can start to see how, by doing that, you really get in like the idea of trials here. They're pinned at the bottom because it's like fitting at vintage clothes, so that's something you can easily get it out. But it's also creating that kind of beautiful shape. So when I'm looking at this kind of thing, I wouldn't know this ahead of time. This is what I mean, that when I'm on set I'm like, oh, wow, I like that. Well, I like the way that the color slept with that. So it's always good to light think on set as well. Yep. And then you like that. And then just to the side again. It's beautiful. Yeah, I just have one. Just looking into the light for me just isn't option and just hold that. That looks like a beautiful shot for a portrait. Just turn your body a little bit more towards this. That said yeah, and tony shoulder this way for me. Yeah. And fully round to me again. Yeah, beautiful. Any questions isn't going. Yeah, we do have some technical questions about kind of the one light set up. If you're okay with those that's fine. So the black panels on either side out of those totally forgot to mention them yet the v flats ah, in here to create some shadow. So these really accessible for anyone again. You can get this from the home store photography saw. So these air at the side. You know what? The white, the light coming from the background he's about back to shut anything that gypsies they're gonna bounce, shadow anything if he's with wine. This would reflect light back to her. So you you technically filling in line. So these oh, great set up like a simple studio. I think you can control, move the light without having to have extra lights. And from fashion tv is this dude, how often are you using the blackboards on your set with this situation, like fifty percent of the time? It also depends on the studio. On what kind of shooting? Okay, cool. Um, earned dignity is on. A lot of people are amazed that you're shooting manual focus at one point. Two aperture do you have any tricks for how you do that? Or just think it like old from my eyes go it's not gonna be a possibility anymore? Um, I just just experimentation and I shoot a lot. So it's one thing when I'm shooting with natural light, I don't have a flash here to distract me. I'm like trigger happy because I want to get focused. So if I have a portrait shot and I'm focusing in, I want to get, like, five shots of the same look, and I tell the model that so then I can get a shot that scene focus it's well, it's, just a shot to do I'm on manual, but for, like one shot I just want to show you so I you know, I chewed a lot, but I don't have it like tea. Just have, like, one after the and then do you have, like, a method that you do close half full? I just, you know, around as much as possible. I just give his much option as possible because clients really appreciate that if I go in and I've only got, like, a few cover options that I'm like this close, we're this close the light, ok, where the full length and I hate shooting full length it's, not something I enjoy, but I have to give it when I'm doing it, because they want to see the shoes they want to see. Scott. And when I see the point of the trial of this, it was like, good to get those options when it be shooting, when she'd like to recover like white space so they can like what their print and everything. How do you do that in the studio? Just, you know, just waiting on a title or to shoot so he's subject his lower and you have a gap at the top I think the best way to do that is just a sheet wider more than her intent. You can always cry afterwards, ok? There isn't like you don't get creative with that, like there's, probably not too many action, especially studio that said so it's just given the option to client whatever they want to do any editors ever go through, you know what, how they're gonna lay out their texts, like previous to you shooting? Or do they just kind of worked with usually afterwards? Yeah, they usually want to see kind of what happens on the day because they also know that things can change, like when I did shoot the observer late, we got there and then, you know, ideas changed about where we're gonna put model is different environments, and the cover was actually not something I thought they would choose, but I didn't see it myself, and then I saw it with a text like, wow, okay, that looks great. So I was like, you know, sometimes they have a better idea if you know how design works and everything as well. So I'm not sure if we did this, but if you could just again, if we could go over like the size of the socks south box and sort of the basic the lighting set up man and and also your what pocket was there you're using or what? Okay, what triggers yeah thanks again you talk about the background um I realized I don't go into too much technical detail but that's because I'm not a technical photographer um but I tend to forget that so yeah, thats good us in these questions so it provokes me to do that. Um, so this one might set up we have a one might hear some medium soft box on a bronco ahead on the power pack, but there we've got a setting of three which is one of the lowest sevens. I want that because I don't want to much light on the model v flats at the side hair they bring shadow to the picture so the light is gonna fall where the soft boxes the reason I have it to the side appear and on an angle coming down to the model is because it brings light to the face and add some death and brings her off the background on and then the gray seamless. The reason I'm using this is because it gives a great radiant you go closer to the background light if you bring up off the background you get a dark field so it's good to do or different kinds of shoots as well to sink this I have a pocket wizard and this is just helping me sink the light whenever I shoot a swell okay all right so let's do a couple more shoots um is she ready to go in a minute? Okay great let's try a few more maybe just some static ones would be great just to give an option um I'd love to take that away from you so we can try some without that looks delicious all right it's it's just some static shots for me please just yet strain um maybe just head to the side slightly sick throws off yeah that's perfect one thing I didn't talk about the crop in whenever I'm doing editorial I tend to cropping ways and that's just from me shoot him for a long time and kind of visualizing how an editorial should look so when I'm looking at this I'm cropping you know just above the head just above the bottom of the feet here and the same with the portrayal crop in here and just below here so it's not like you know I'm going out of the way of doing like knew the conventional way of doing things but sometimes it's just interesting for the concept while he keeps sending me questions as I'm shooting I'd love teo was input this beautiful now do you keep the image in mind for like do you have a final image that you want in your head and then the other options or just for variety for the client or is it just you or is that your process to discover your final image? It's always a process to discover but it's also good to go in with an idea so I knew that I wanted this with a color block and I knew that I wanted harrah's the model and I knew that I wanted the milkshake but it's also good that's why I took it away because I thought okay so if this is for a magazine I'd say okay let's take the milk shake out let's do some color blocking because it may not work with another thing so if I have to images that have like a proper and it may not go together so sometimes you want to shoot images justus phil eruptions so when you do it in editorial you have the option for the client and they can't say you didn't get enough options for the shoot so it's always about you know back in yourself for giving people the option that's great you use the term color blocking a couple of times you know anyone who might know la kane is basically close when I say this so color blocking is the pink going with this? Actually this is a good question for cat um which we can probably talk about later on if you want but it's exactly the color block in silence one way would love to your eatery in camera are using, like spot meter evaluated. Like what type of setting? I just I'm not t focused on that. I'm just always having a spot, like in the middle of the shoot. I go in and I focus half way down on the eyes, and then I mean it. Okay, I'm doing that. So it's always about this bit and then moving the camera guy beautiful. Okay, this is great because she moves quite well. She kind of do you feel comfortable in there? The outfit? Do you feel it? Bring something to you? Okay, great. So she moves a lot, but I'm also just suggestions. It's. Just subtle changes that will help. Okay, so I'd love to get one. Maybe. Can you put your hands in your pockets anywhere like, just like to the side? Yeah. That's great and in flat to me. So yeah, that's it so legs apart. It's. Great it's going to try full length with thanks that's. Quite a nice ways. And then can I get you like right, alan? Yeah. That's perfect.

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!