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Direction and Wardrobe

Lesson 4 from: FAST CLASS: Lighting, Logistics, and Strategies for a Life in Photography

Joe McNally

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Lesson Info

4. Direction and Wardrobe

Lesson Info

Direction and Wardrobe

I described the team in the first hour or so, but you didn't meet him. They were off the set. So time to meet them. Thehyperfix Soul of our studio, Lynn Del Mastro. Over here. Okay, then is wonderful. And as I said she is. Um, she wears many hats. Her overall title is studio manager, but she does. Our bids are estimates are are, you know, billing are client dialogue emails on then also, when we finally do land that job, she then takes that hat off and she becomes a producer. Sometimes she wears them actually simultaneously. Those make for very long days. But Lynn has gotten everything for me. From an elephant in the desert to a 40 ton crane over the Venice canals. Teoh. Oh, I don't know any manner of Wilde's sort of animals from snakes Toe this in that and the other thing, So, yeah, I mean, she's one of the top producers, you know, I I feel in the business. She will be more self effacing than that, but let's just say you're an excellent producer. The other member are a team that I ment...

ioned. That you did not meet is Michael Callie back in here. Callie has been with us for seven years. He came as an intern left, came back as a second assistant, became a first assistant. And now he holds dual titles of first assistant and chief videographer and has been with us for seven years, came out of the Hallmark Institute of Photography and got a good grounding. I mean, the Hallmark Institute was, you know, a good overall kind of intensive. It was a months or something like that. Carry some months, 10 months. And so he came to us well equipped with certain skills, you know, Photoshopped and stuff like that. And so he is. Ah, lot of the underpinnings of the day to day operation of the studio, including delivery of clients, finished files to the client. Then we have any Cahill who might be watching Danny any, in addition to being our director of social media and marketing is my wife, and she's amazing. She we met. She was a Nikon Tech rep for 12 years, so she knows the cameras backwards and forwards. And then she left Nikon and became the director of the professional division at Adirama Camera for about three years, and she actually created the professional division so that essentially, I mean, there's a lot of various things that she had to do. They're one of the principal ones. Was marketing and social media to advance the mission of the store. So she came on to the studio in that capacity, and she's been been amazing at it. So we are, Ah, small but wonderful team. And, uh, we're here, most of us here, you know. And Linda is with us as well. Linda is not core staff. She is a freelancer. She wonderful photographer, and she comes in a couple days a week. And Linda is our logistics person. You know? She keeps us in line serial numbers, uh, camera logs, files the equipment Depp Oh, my garages acclimatized. So all the equipment lives out there, and so we keep it de humidified and certain kinds of temperatures for the batteries, you know, and everything out there. And Lin Linda has that kind of garage. I don't even know where things are in my own garage. But Linda does. So Linda's amazing detail person. And as I said earlier, yeah, every Oh, Joe McNally did this wonderful picture Okay, fine. You know, I'm happy that someone likes the picture. But behind that camera, OK, are all of us. It is very much a team effort, so I can't stress that enough because I don't have that skills. I mean, if I'm left to do photo shop, you don't want to know that, you know, you don't want to see that. So to the extent that I trust Linh implicitly in all manner of things, I also trust her sense of taste and style. So when we're on the set, she not only is the producer, but I will call her in questions of wardrobe questions of makeup. What do each of us look for when we start to edit pictures? Lynn has a set of things that she is really keyed in on. Callie has a set of things he's keyed on. I have a different subset that I am looking for. So hopefully, if someone's collar is like this, I might not even notice it cause I'm into the like camera look like Yeah. Yeah, OK, do this now. That's nice. I'm thinking about you know, there's a lot of programs running in the background in my head. Are the lights firing? How is this working? How much time do I have? Is the client, you know, upset or whatever it might be? So I might miss certain things. And Lynn will be at the camera and source of Wait, wait, wait. No, we have to do this. We have, you know? No, I think this works with this. And we just did that with Ryan. How about we introduced Ryan? Our first subject, The the are bar owner slash bartender. He's gonna be our first subject, and he's got a wonderful, wonderful kind of viz AJ and demeanor for a photograph. I think it's gonna be just fun to do this. So he showed up in basic street clothes and had a rack outside an array. And so Lynn kind of went through it. You wanna talk about that? Just breaking up colors. There's a rack of clothes outside, and we don't actually have a wardrobe stylist on set with us, per se. So what Joe is describing that I often do is I'll jump in sometimes with a stylist is well, and we'll just confer. But the clothes, then the wardrobe options that Brian brought were wonderful on this. Just was stood out. It was like, there we go. This will be fantastic. What we might have to do is roll up the sleeves. You know, if you wanna have more that, like, you know, bartender washing the counter. Look, you know, um, and otherwise he This man's good to go. I got 35 years of experience backlog, and it's still amazing to me. After 35 years down the pike. How many bad pictures I still shoot? Get used to it. Embrace your mistakes. Take him to dinner, sit down, have a conversation because they are your path to better pictures. They absolutely are. So if you're not making mistakes, you're not. You might as well hang the cameras up because you're not challenging yourself. You're not being adventuresome. If you think you know it all, definitely handling cameras up, then you can go inside and become an editor. It because the editors, of course, know it all. You know, we're just bumbling around out here in the real world. So now I've been blessed to know a lot of really terrific editors who have helped shape my work overtime and push me in the right direction.

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