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Fourth Fashion Look

Lesson 12 from: FAST CLASS: Beauty + Fashion

Matthew Jordan Smith

Fourth Fashion Look

Lesson 12 from: FAST CLASS: Beauty + Fashion

Matthew Jordan Smith

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Lesson Info

12. Fourth Fashion Look

Lesson Info

Fourth Fashion Look

now I gotta be cognisant of the hat and shadows. So do our test first and see if we got changed the hat and took up whatever. But we do a test first to see what we land. We met like cheap that had back more to the Yeah, a little bit that we see a little bit of your eyes. That would be better. So if you're doing this, you have the hat I want. Make sure I don't see this beautiful face. So take your head up, Mawr. Yeah, that's what I want. So as you doing everything, keep ahead high. That's perfect. This is so cool. Can't see it profile again as well. And the back. Okay, okay, Let's go to work straight to me. Let's go to work here, too. You can get a lot of movement in the sheepskin. Let's do that. So let's go full on the fan and keep it moving. I think we've got still like tilt. It cheated even more extreme. Just so I see at least one I fully let's go toe work again. Beautiful. That's the energy. Keep it coming. Keep it coming. Nice. Nice beautiful, beautiful, beautiful head high head hi...

gh. That's nice. Love it. Love it Fast. Great, Great, great. Great. That was a great kick. Nice. Nice, beautiful. Beautiful. There we are. There we are. Great. Great. This is wonderful. Head high head high for me. You know what? Let me see the opposite. Mr the Head Down Quite a bit. You see where heads down quite a bit. It's almost like in shadow. That could be interesting. We'll play with both ways. So if you go down, looks way down. If you go high, go way high. Absolutely. That's nice. Nice, beautiful. Beautiful. That's it. You've got a deer. Fantastic. And back. It was a little bit nice. Nice. Yeah. Beautiful. Beautiful, fantastic. Fantastic. Hit high. They're lovely. Try there. There. Hold on, hold on. Because 100 macro. Okay. I may have lost my connection, I think. Yeah. Turn the camera. What you doing just now? Like that? With the hand there. I want that I want that. It's reminiscent of Michael Jackson. I want that we'll bring you back. It's a tad destruction. Yeah, Now cross. That's it. So maybe a variation here where the by and almost like this. You're changing your head. Give me different. Very just ahead, as you're doing that, because this looks wicked. Yeah. Thank you. Thanks, man. Let's go. Show me there. That's nice. Beautiful, Beautiful. That's That's the shot. That's the shot. That's the shot. Fantastic. Lovely, lovely, beautiful, beautiful. We have that. Everything under the sun has been done before, but there's a spin on it. And the spin is you doing your unique vision of it. Nobody can copy how you feel. Nobody can copy how you feel. No back and copy your inspiration. You can find a picture in a magazine and try to copy that picture and that style. But you're copying the surface under that picture is the inspiration, and that comes from you. So you find out what makes you feel alive. What makes you feel good when you shoot? You find, um, your inspiration through travel through being a book through a movie, and that inspires your story. So as you're putting your storybook to get your story board together, that's from your inspiration. That's not a copy, and that cannot be. Copy is you work as you work as an assistant and we're for dozens of photographers. You see them work every single day as a photo assistant. Your with, um, almost night and day traveling around the world, working on the sits, setting up the lights, putting the camp together, saying the F stop shutter speed. And then we go to do your own thing. You can't copy what they do because the source of the inspiration comes from here. You can't copy that. Your inspiration comes from your life from your life.

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