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Shoot Set Up: Corporate Headshots

Lesson 15 from: FAST CLASS: Lighting, Logistics, and Strategies for a Life in Photography

Joe McNally

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Lesson Info

15. Shoot Set Up: Corporate Headshots

Lesson Info

Shoot Set Up: Corporate Headshots

I'm gonna shoot available light. I'm gonna shoot a quick, available light portrait. It'll be lovely. Will use a couple of Phil boards, etcetera. Then we're gonna move into an area where we start to show two dimensions of the room. And when I do that and I bring Britney, who's our lovely model, who's gonna be our our corporate persona in front of the lens here. When I do that, I bring her into this other area. I'm actually going to be having her face away from the life. So available light is a beautiful, beautiful thing. A so long as you accommodate it in terms of direction and quality and closeness and strength and all that sort of stuff. And there are times that you want to go against the flow of the available light. And so we're going to examine both possibilities here and see, you know where we go. All right, so it's a pretty cool room. Let's let's face it s o. Here's where you operate. What is it? The Hippocratic oath that doctors take do no harm. Okay, so that's the first thing I'...

m going to try to observe here as a photographer. Try not to screw this up because it's actually kind of cool just on the face of it. So if I'm presented and I have strategies for I'm presented with a situation like this strategies for doing this and doing it efficiently. If I have wonderful available life, I'm gonna grab it because available light is available. Right? And I can I can put Britney right over here sitter in a chair and rattle off 100 frames of her in less than five minutes. And then I'm like, Okay, cool. So if the electricity blows or there's, you know, they come in and say we have to cut the shoot short or she has an emergency conference to go to or something like that and she's out the door. I know I got something in the bag, right? And that's when I look at it. If I had a good picture already in the first few minutes of the shoot off, sometimes looking Kallis. Okay, we're fat. Okay? We are fat. All right, we've got it. We've got a good sort of initial set of exposures. Take a breath. So first thing again. Always, always. Always. Location assessment. Um what does this place look like, You know, it's kind of industrial. Got some cool with sort of stuff. So the flow of the light is this way. So why don't I start and work with the flow of the light? And the reason I'm starting is here. I was originally going to start over there immediately, work against the light. But I saw Britney over on the set over here, kind of sitting there and kind of this perfect sort. Of course, she looks positively in charge sitting there, and I just kind of picked up on that, and maybe she's not feeling that way, but I visually recognized from a distance like she looks great right there. So why don't I take at share similar to one that she is in? I'm gonna swing it around here. Actually, we could just take a chair from here. We don't have to swing anything around here. All right,

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