Shoot: Vintage (Two Models)

 

Fashion Photography 101

 

Lesson Info

Shoot: Vintage (Two Models)

So what I do know is I'm bringing two models to the table, and this is about the direction of the model, but also how it comes together. I'm said so to me, I think they were great together they've got, you know, oh, outfit's cats really gone in and found outfits that kind of compliments the model is how they come together to want to go in with this so and then we have a lot to kind of yeah, yeah, so let's give that one to shell because of the colors and then if you guys could move over a little bit it's great. So, laura, what is the concept? Now that we have the two models? Just the same concepts is the same. Fifty steam but it's just bring in a story to it. Okay, so whenever we do in an editorial store, were thinking of something we can do to have the models interrupted or is not interact it's the way the clothes they're moving, all the movement in the shoot. So having a prop on a set like this just as a point of interest, it helps the models interact swell. So what I want you to do i...

s just come closer to shelby because the camera's gonna pull you apart just a little bit forward, that's it with your chin up side profile that's. Perfect. Okay. And you've got the fun expression like he was kind of looking over to her. Let's, take a few shots and see where it's gonna take us. Okay. Cat don't look so serious. You look at your force feeding me oh, chin up the set chin up. Yep. And a little bit of a smart course smile. It's. Great, it's. Great. So I imagine that this is like real life where the stylist and your whole team is coming in. Yeah, saying exactly that that's. Why? I put them a long time when you do see it from that kind of point of view, so they're always coming into is that making sure everything is fine? Um, and that's my job like you do a really good job, is it to save me? Make me a lot of retouching. They'd love to get a landscape shot of this. So just be careful. The chopsticks coming into your mouth here, so just turn the chops is up that way the other way. Bend the end of them. Yeah. That's. Perfect. Great. And again, pull them down a little bit because they like coming yep, that's great, thank you. Gonna get a full like that so you can't just put your feet straight for me? Yep. Completely straight. Your leg straight shall be so again. There's some consistency with the way that they're poison the legs a strange clothes, a consistent the models of consistent. So this is what works love to get a landscape. I just drank your arms this way can't that's it? Yep. So I can see a bit of the cooler to be great. Ok? And shall be if you could turn your body towards this way. So you're back his own camp? Yep. That's it. And then if you lean over shoulder this sari for the touch just before you showed it that way that's it and then come in. Um let's just put your hand a little bit. Yeah, just kind of pull it into no it's. Good. If your head's back again that's the best thing with the light that that's great. Yeah, looking towards me. And then if you buy face forwards for me, I just want to get that option as well. It's great. And then cat if you look toward shelby or if you even put it in the dish the chopstick said, yeah, I didn't just see they'll stick and then you just pose next to it so maybe a hand on the arm would be really good yeah yeah and looking towards her that sets there's always got to be an interaction shall we just put your hand down kept it's great you might do different detail shots or close ups of different things could you like show us like a few examples of the types of things maybe late details of their landscape and all that kind of thing you ever say yeah I've been shooting it but maybe people coming close to by the way you can get so what I'm doing is I'm taking shots from full length I'm going into here I'm moving in taking portrait and then I'm asking them to move so I can kind of see what works as well so like detail shots just like just food and like her hands were like things like that but it was still life painting so I try not to date but when I mentioned product I meant like that tool you kind of product as just tool round something kind of thing that would be great yeah it just is a question for the products product as well um or I guess more so the props uh what what are you using if you don't mind jumping on what is that like the green thinks he is the example of the types of things that you're using for those for the milkshake it's it's strawberry cake mix yeah ice cream again it's like mashed potatoes like that the uh spaghetti zehr just actual spaghetti is with food coloring so yeah it's just a little food coloring and you kind of mix it right in my hands are still being washed in like seven times since I've done this and in order to keep the models from any hassle I marked the back of the bones so they don't know what your side is the front of my side is because you can see it I didn't have enough spaghetti so there's so much paper towels underneath that but you can't see it because it all hides it so um and I used the carrot like parmesan cheese I just created it on top and to the chopsticks I know if it's still yet it's tied tied tio by that all they have to worry about it looking good and fabulous and fashion you know you just try to make it the best you could do without giving them another reason to worry what would be like the craziest thing that you've ever uses like a substitution and mashed potatoes rice screaming like a little um craziest substitution I've ever used damn stuff um I'll have to get back to you that I'm not sure really well okay yeah I'll get back tio huh that's another connections or do I have to say you you look like you just for the occasion okay, good against you could pop it on this table, so I'm just gonna get a few more shots here and then, okay. So if you interact with this milkshake, just put it up to your mouth here. That's, great with strong. Yeah, and then you hold the toxin, which is. Put it towards me a little bit so I can kind of see the contents without tipping over that's great okay so again what I want is you know just kind of have some fun with it like you know how about you look towards shelby from the side effect because that's a great profile you salute with hair this is what I'm looking out for us while the main feature of this but I think brings it together is the hair and makeup as well so that's great like that if you sip that milkshake and lean in and you look down to me yeah don't yeah down at it and then look up to me after great looks really beautiful guys see what I'm doing and do a full length identifying shooting landscape when I'm thinking about is gutter in the page some thinking about whether separation is in the middle and if it's worth chopping off their as well are you gonna cover like the terms the editorial terms or anything with tomorrow yeah we're going to the editorial stuff and on the business stay it's okay so completely looked to sign I just want to see your rifle that's great and shelby if you could just put your chin to the light head back like that that's really great and I'm gonna take you out for a few shots instead karen she is around when you're posing two models like what are some of the things that you're looking out for us they're looking for like angles of limbs or just their relationship with their gay it's always about the interaction so when I'm looking at them right now what I'm trying to get is what is it that ties them together and what helps is that this already ties them together clothing so that's something that you know point one quite next thing is the hair and makeup it's relevant thing but pose in it's about like her look into her it's about whether eyes are it's about maybe I do a lot of an arm around another girl the way she's sitting like linking arms she was sitting on the ground the way that maybe the limbs that kind of intertwined over someone else but it's also about like I interaction is well um well maybe how close they are because the camera always pulls people apart so it's good to make them go as close as possible in order to do that and another thing is the props if you bring in a product that they can interact with that's a really good thing to anything you try to avoid like when you're posing to people like just something that just doesn't work that I didn't shoot recently and I felt that when I had the model set like it was more like a still life kind of you know it's very separated to the models of kind of static on they felt that having two models in static areas were very it was just very separated and it just looked very cold in the final image but I think it depends on style all right but what I do like feminine kind of beauty thing it's like two girls the sisters and going out having fun and that's the kind of five I want to bring across well these are great questions and okay so maybe let's try can you link shelby's on yeah straight on really static to me both chin up slightly mouths open just a little bit and I want you to feel like you know you being pulled by a string so just pull you back some that's it and he's gonna be your good yet you both put your arm you put you on sound you can't see that maybe just pull turn up so you're about to drink it that's it that's great so you like two sisters going out like a date in the fifties loathe can't you look toward shall be a little bit yeah that's great with the eyes like that and shall be if you just put your head back a little bit yeah it's beautiful and then shall we be look towards cat as well and when I won just for a few final shots for we break could you walk for me from there to there arm in arm so if you just like walk just slowly that might spill good plan thankyou so from that corner just to this corner very slowly arm in arm I just want you to walk together so left foot for so you can sink yet okay, one, two, three. Okay. And again, one more time to start a little bit further in. And I want you to swing your arm cat, too. So she come in okay? All right. When you're working with new models like how how often do you feel like you have teo prep them, like, tell them that it's okay for them to ask questions. I've worked with models before, where I'm giving them direction. But then if they're confused on something, they're not asking me questions. One certain things that they want to do, um, it's just about keep telling them is my tissue can or may be trying to start working, make more professional models because you're happy at that level where you like, you know, you know what you want, but they're just not giving it to you, it's a little bit frustrating, but then having fun styling and everything kind of brings personality on this. Well, if you could voice look towards here for me yeah, but it be great. Ok, one, two, three that's great. See, I often when I'm doing these kind of shoots on location, get the models to me to get him to walk shots aren't always gonna be perfect. Because we're getting like meat action shots, but sometimes you get that odd one or two that you like, wow, that's. Interesting, because it's, not something that isis is well, so we don't get the time way we're getting close to, uh, lunch. Okay, well, we can break you continue this with students after, if you want what's that's got a producer, could give you a break and then come back to the left. Yeah, yeah, yeah, okay, thank you, guys.

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!